1
00:00:00,720 --> 00:00:17,600
Speaker 1: I am all in again. Oh, let's you. I am

2
00:00:17,640 --> 00:00:22,880
Speaker 1: all in again with Scott Patterson in iHeartRadio Podcast. Hey everybody,

3
00:00:22,880 --> 00:00:24,880
Speaker 1: Scott Patterson, I am all in Podcast, one of them

4
00:00:24,920 --> 00:00:31,880
Speaker 1: productions iHeartRadio Media, iHeart Podcasts. We are recapping Season one,

5
00:00:32,159 --> 00:00:37,440
Speaker 1: Episode nine, Rory's Dance. Air date December twenty year two thousand.

6
00:00:37,520 --> 00:00:43,440
Speaker 1: That was twenty four years ago. Almost Oh gosh. Rory

7
00:00:43,440 --> 00:00:45,800
Speaker 1: and Dean fall asleep together following a fairy tale evening

8
00:00:46,479 --> 00:00:49,720
Speaker 1: at a formal dance, leading to a blow up between

9
00:00:49,760 --> 00:00:53,720
Speaker 1: Lorelei and her mother over discipline. Leslie Linka Glader, who

10
00:00:53,720 --> 00:00:58,120
Speaker 1: directed the pilot, directed this episode. Amy Sherman Palladino wrote

11
00:00:58,600 --> 00:01:02,280
Speaker 1: this rather brilliants and I am joined by none other

12
00:01:02,440 --> 00:01:08,920
Speaker 1: than Vanessa Morano, who played my lovely daughter. Welcome, how

13
00:01:08,959 --> 00:01:09,360
Speaker 1: are you.

14
00:01:09,959 --> 00:01:10,559
Speaker 2: I'm good.

15
00:01:10,880 --> 00:01:12,440
Speaker 1: It's been a minute, right.

16
00:01:12,600 --> 00:01:13,039
Speaker 2: A minute?

17
00:01:13,360 --> 00:01:16,600
Speaker 1: Yeah, you were on what a couple of years ago?

18
00:01:16,760 --> 00:01:19,360
Speaker 2: Has been a couple of years ago. I feel like

19
00:01:19,560 --> 00:01:25,000
Speaker 2: last year was the All In live where you pummeled

20
00:01:25,080 --> 00:01:25,880
Speaker 2: up with snow.

21
00:01:26,360 --> 00:01:26,840
Speaker 1: That's right.

22
00:01:26,920 --> 00:01:28,920
Speaker 2: I think it's the only way to describe that experience.

23
00:01:30,720 --> 00:01:32,960
Speaker 1: No, that was just last year. That was last year,

24
00:01:33,000 --> 00:01:36,080
Speaker 1: last year. Yeah, So it was just a year ago. Yeah,

25
00:01:36,400 --> 00:01:39,679
Speaker 1: and yeah, we're doing another big shindig this year at

26
00:01:39,680 --> 00:01:41,920
Speaker 1: Warner Brothers lovely to see. How have you been you've

27
00:01:41,959 --> 00:01:43,039
Speaker 1: been I'm sure you've been busy.

28
00:01:43,920 --> 00:01:47,760
Speaker 2: I've been good, been busy, very very excited for the

29
00:01:47,840 --> 00:01:52,880
Speaker 2: end of the year, and just taking it easy at

30
00:01:52,880 --> 00:01:53,720
Speaker 2: this point in time.

31
00:01:54,160 --> 00:01:58,480
Speaker 1: Right, Yeah, iHeart podcasts.

32
00:01:59,000 --> 00:02:00,720
Speaker 2: Listen on the iHeart Radio app.

33
00:02:02,720 --> 00:02:04,320
Speaker 1: Let's get into this thing. What did you think of

34
00:02:04,360 --> 00:02:05,160
Speaker 1: this episode?

35
00:02:05,400 --> 00:02:09,400
Speaker 2: Well, as you know, I'm such a huge Gilma Girls fan,

36
00:02:09,480 --> 00:02:13,960
Speaker 2: so I've seen this episode upwards of probably thirty times.

37
00:02:14,080 --> 00:02:16,119
Speaker 1: All Right, so let me let me ask you then

38
00:02:16,680 --> 00:02:19,720
Speaker 1: if you're the expert here, because this is only the

39
00:02:19,720 --> 00:02:23,359
Speaker 1: second time I've seen it. I know I ranked this

40
00:02:24,240 --> 00:02:27,120
Speaker 1: because now I've seen it, and so I'm I'm able

41
00:02:27,120 --> 00:02:31,560
Speaker 1: to sort of compare it and rank it. Got This

42
00:02:31,600 --> 00:02:33,040
Speaker 1: is pretty high up there on the list for me.

43
00:02:33,880 --> 00:02:37,160
Speaker 2: It's a great episode, and it's really it's one of

44
00:02:37,200 --> 00:02:41,720
Speaker 2: those ones where, like I remember just from watching it

45
00:02:41,880 --> 00:02:44,160
Speaker 2: live too, like it was a big one. Like I

46
00:02:44,200 --> 00:02:46,320
Speaker 2: remember it was a big thing that there was going

47
00:02:46,360 --> 00:02:49,000
Speaker 2: to be this big. It's the first real fight we

48
00:02:49,040 --> 00:02:53,960
Speaker 2: see with laurele I and Rory, you know, in the pilot.

49
00:02:54,000 --> 00:02:56,560
Speaker 2: Obviously there's the disagreement about school, but this is the

50
00:02:56,600 --> 00:03:01,120
Speaker 2: first sort of like, especially from louralized perspective, like all

51
00:03:01,160 --> 00:03:05,080
Speaker 2: of her you know, childhood for lack of a better term. Yes,

52
00:03:05,400 --> 00:03:08,720
Speaker 2: it is really informing how she is feeling about this

53
00:03:08,840 --> 00:03:12,960
Speaker 2: entire situation. Yes, obviously like the fear of like safety,

54
00:03:13,040 --> 00:03:15,600
Speaker 2: my daughter didn't come home last night, but then it's

55
00:03:15,639 --> 00:03:18,560
Speaker 2: about so much more than that, and Emily triggering her

56
00:03:18,720 --> 00:03:25,359
Speaker 2: into that confrontation with Rory. It's just it's such like psychology,

57
00:03:25,480 --> 00:03:28,959
Speaker 2: that's just like bubbling up. That really is the sweet

58
00:03:29,000 --> 00:03:31,919
Speaker 2: spot where Gilmore Girls lives, in my opinion, right right,

59
00:03:32,120 --> 00:03:34,760
Speaker 2: just mother daughter trauma over and over and over and

60
00:03:34,800 --> 00:03:35,280
Speaker 2: over again.

61
00:03:36,080 --> 00:03:40,200
Speaker 1: It's the three generations put inside that crucible and it explodes.

62
00:03:40,280 --> 00:03:45,080
Speaker 1: It's it's just wonderful stuff. It's just so brought with

63
00:03:45,160 --> 00:03:48,680
Speaker 1: drama and humor and dynamics. It's just it's great.

64
00:03:48,680 --> 00:03:48,960
Speaker 2: All right.

65
00:03:48,960 --> 00:03:54,280
Speaker 1: So we're Friday night dinner and uh, you know, as

66
00:03:54,360 --> 00:03:58,760
Speaker 1: Friday night dinners go. I thought this was particularly great

67
00:03:59,080 --> 00:04:03,600
Speaker 1: because it sees Laurel I acting throughout the episode, but

68
00:04:03,680 --> 00:04:08,400
Speaker 1: especially here in a somewhat childish way, right and picking

69
00:04:08,400 --> 00:04:12,120
Speaker 1: at her avocado and the tomato. But the the humor

70
00:04:12,320 --> 00:04:16,760
Speaker 1: was elevated. Rory was a little you know, she was

71
00:04:16,800 --> 00:04:19,359
Speaker 1: dismissive and ran and got a coke. But it's you know,

72
00:04:19,400 --> 00:04:23,880
Speaker 1: the banter between mother, between Emily and Laurel I was

73
00:04:23,880 --> 00:04:26,040
Speaker 1: was as good as it gets it at a Friday

74
00:04:26,080 --> 00:04:28,640
Speaker 1: night dinner and minus Richard. And it's interesting because I

75
00:04:28,680 --> 00:04:31,360
Speaker 1: wasn't in this episode. You know, the Fellas weren't really

76
00:04:31,360 --> 00:04:35,000
Speaker 1: in this episode other than Dean and and Tris stan

77
00:04:36,160 --> 00:04:41,560
Speaker 1: Cestine referred to him Tris stan and it and and it,

78
00:04:42,480 --> 00:04:46,120
Speaker 1: and it really flowed for me, you know, it wasn't

79
00:04:47,320 --> 00:04:50,400
Speaker 1: even though you miss Richard, of course, but you know,

80
00:04:50,440 --> 00:04:53,520
Speaker 1: this mother daughter dynamic is powerful, and you're right, it is.

81
00:04:53,800 --> 00:04:56,120
Speaker 1: It is the backbone of the show. It truly is.

82
00:04:56,440 --> 00:04:59,839
Speaker 2: It is. And I obviously Laura and Rory we love,

83
00:05:00,080 --> 00:05:03,560
Speaker 2: we watch, we adore, But for me watching Laurel I

84
00:05:03,640 --> 00:05:07,719
Speaker 2: and Emily is one of the funnest things on the show.

85
00:05:07,760 --> 00:05:11,560
Speaker 2: Whether they're fighting, whether they're it's humorous fighting, it's just

86
00:05:11,640 --> 00:05:15,760
Speaker 2: two powerhouse actresses that are just playing in a way

87
00:05:15,800 --> 00:05:18,080
Speaker 2: that is so fun. And what I loved about this

88
00:05:18,120 --> 00:05:20,440
Speaker 2: Friday night dinner is it's one of the rare times

89
00:05:20,480 --> 00:05:23,760
Speaker 2: where we end with Emily getting the last word, like

90
00:05:23,800 --> 00:05:25,480
Speaker 2: a lot of times Laurel I is able to get

91
00:05:25,520 --> 00:05:27,600
Speaker 2: the last word, and then Emily kind of rolls her

92
00:05:27,600 --> 00:05:30,560
Speaker 2: eyes annoyed and is like, I'm not going further. But

93
00:05:31,040 --> 00:05:33,800
Speaker 2: that last bit where she was like, the owls will live,

94
00:05:33,839 --> 00:05:41,000
Speaker 2: and she's like, well, apparently they won't, Dear, It's like,

95
00:05:41,000 --> 00:05:43,640
Speaker 2: that's why they need the donations. That's actually what the issue.

96
00:05:43,520 --> 00:05:46,599
Speaker 1: Is, you know, in the hands of a lesser writer,

97
00:05:46,960 --> 00:05:51,800
Speaker 1: and I would say nine percent of the writers out

98
00:05:51,800 --> 00:05:55,360
Speaker 1: there are lesser writers than than Amy Sherman Palladino. Not

99
00:05:55,400 --> 00:05:58,520
Speaker 1: to take anything away from those ninety nine point nine percent,

100
00:05:58,560 --> 00:06:01,599
Speaker 1: because they're all done pretty dark good. But Amy's like,

101
00:06:01,720 --> 00:06:07,120
Speaker 1: you know, she's she's special, uh, And in the in

102
00:06:07,160 --> 00:06:10,880
Speaker 1: the hands of a lesser writer, that scene doesn't work.

103
00:06:11,560 --> 00:06:14,400
Speaker 1: She makes that stuff work, you know, with all the verbiage,

104
00:06:15,200 --> 00:06:17,479
Speaker 1: the word count, all that, it just works.

105
00:06:18,080 --> 00:06:20,080
Speaker 2: And it blows my mind too, and it must blow

106
00:06:20,120 --> 00:06:23,000
Speaker 2: your mind as well, just like you know, being in

107
00:06:23,040 --> 00:06:26,520
Speaker 2: television for so long and working on so many shows

108
00:06:26,520 --> 00:06:30,840
Speaker 2: and knowing the restrictions that writers are under, especially in

109
00:06:30,880 --> 00:06:35,440
Speaker 2: a network setting as well. Man she got away with

110
00:06:35,680 --> 00:06:37,279
Speaker 2: what she was able to.

111
00:06:37,200 --> 00:06:41,720
Speaker 1: Do is you know what you bring up probably the

112
00:06:41,720 --> 00:06:46,400
Speaker 1: most salient point of all. How did she do it?

113
00:06:46,800 --> 00:06:50,240
Speaker 1: How did she do it? Because, Yeah, I've been on

114
00:06:50,839 --> 00:06:54,040
Speaker 1: a series regular in four or series now and it

115
00:06:54,240 --> 00:06:57,240
Speaker 1: is a it's it's it's a cage fight trying to

116
00:06:57,240 --> 00:07:00,640
Speaker 1: get a line changed. You know that, it's a it's

117
00:07:00,760 --> 00:07:05,440
Speaker 1: just brutal. And the thing is is, you know a

118
00:07:05,480 --> 00:07:08,400
Speaker 1: lot of actors aren't great writers, but there are some

119
00:07:08,440 --> 00:07:12,480
Speaker 1: actors that are pretty pretty good writers, and they kind

120
00:07:12,480 --> 00:07:14,640
Speaker 1: of know and you know, and like, hey, this isn't

121
00:07:14,640 --> 00:07:17,040
Speaker 1: going to work because of this reason. And it doesn't.

122
00:07:17,200 --> 00:07:19,720
Speaker 1: You don't really need to say that line. I can

123
00:07:19,760 --> 00:07:21,960
Speaker 1: act it, you know. Now it's better if I just

124
00:07:22,160 --> 00:07:25,320
Speaker 1: act it. And what can we drop that? This has

125
00:07:25,400 --> 00:07:28,680
Speaker 1: no logical reason to be in the scene. This is repetitive,

126
00:07:28,680 --> 00:07:32,360
Speaker 1: it's redundant, whatever the reason is, right, cut it, just

127
00:07:32,400 --> 00:07:34,840
Speaker 1: cut it. Less is more or less's more or less

128
00:07:34,920 --> 00:07:38,240
Speaker 1: is more. So Yeah, she did that, and she did

129
00:07:38,280 --> 00:07:45,320
Speaker 1: it because she didn't back down. The courage and the

130
00:07:45,440 --> 00:07:49,600
Speaker 1: courage of that woman, you know, defending her favorite children,

131
00:07:49,680 --> 00:07:54,920
Speaker 1: not only us, but her words, right, her characters. Man,

132
00:07:54,960 --> 00:07:58,120
Speaker 1: nobody was going to get near us. She protected us

133
00:07:58,800 --> 00:08:02,360
Speaker 1: tooth and nail for six seasons until she just you know,

134
00:08:02,840 --> 00:08:07,160
Speaker 1: got her heart broken. You know, wow, yeah, how do

135
00:08:07,240 --> 00:08:10,120
Speaker 1: you do it? Well? It takes a special kind of person, right,

136
00:08:10,200 --> 00:08:15,480
Speaker 1: it takes it takes a person who believes in their

137
00:08:15,600 --> 00:08:20,120
Speaker 1: vision so strongly that they're willing to die on that hill.

138
00:08:20,360 --> 00:08:23,920
Speaker 2: It takes a person who survived the Roseanne writer's room.

139
00:08:27,880 --> 00:08:29,960
Speaker 1: What that must have been like, Oh yeah.

140
00:08:29,840 --> 00:08:32,240
Speaker 2: Because anyone who's worked in that writer's room is like

141
00:08:32,880 --> 00:08:35,319
Speaker 2: a powerhouse person.

142
00:08:35,559 --> 00:08:39,360
Speaker 1: Right, do you know? Do you know the players involved

143
00:08:39,400 --> 00:08:40,839
Speaker 1: in that writer's room.

144
00:08:40,720 --> 00:08:42,360
Speaker 2: A little bit? I've worked with a lot of them

145
00:08:42,480 --> 00:08:44,880
Speaker 2: throughout the years, Like I did a pilot with Rob

146
00:08:45,000 --> 00:08:47,240
Speaker 2: Ullin who was there at the same time as Dan

147
00:08:47,600 --> 00:08:51,520
Speaker 2: and me. And yeah, it's funny. You just come across

148
00:08:51,760 --> 00:08:56,120
Speaker 2: a lot of writers who you know, have all worked

149
00:08:56,120 --> 00:08:58,679
Speaker 2: in the same rooms more or less through the years.

150
00:08:58,679 --> 00:09:02,320
Speaker 2: In television, I mean, television is kind of a small pool,

151
00:09:02,360 --> 00:09:06,120
Speaker 2: even with new and people coming in. But it is

152
00:09:06,160 --> 00:09:11,880
Speaker 2: an interesting thing to think about because obviously it's kind

153
00:09:11,880 --> 00:09:14,520
Speaker 2: of notoriously known that that was a difficult room and

154
00:09:14,600 --> 00:09:18,160
Speaker 2: again because personalities and because network restrictions, and they were

155
00:09:18,160 --> 00:09:20,760
Speaker 2: doing something by groundbreaking at that time as well, which

156
00:09:20,800 --> 00:09:25,199
Speaker 2: is always really really difficult, right, But I think when

157
00:09:25,240 --> 00:09:31,520
Speaker 2: it comes to to Amy, like you see with the

158
00:09:31,559 --> 00:09:34,360
Speaker 2: care that she has for Gilmore Girls and the care

159
00:09:34,400 --> 00:09:36,960
Speaker 2: that she has for the writing, and I mean like

160
00:09:37,440 --> 00:09:40,719
Speaker 2: not a piece of exposition in sight, which again I

161
00:09:40,720 --> 00:09:43,439
Speaker 2: think is very difficult to do on a network show

162
00:09:43,480 --> 00:09:46,480
Speaker 2: where you have to remind people after everyecial break where we.

163
00:09:46,480 --> 00:09:50,840
Speaker 1: Are oh my goodness, oh man, yeah, it's all there.

164
00:09:51,200 --> 00:09:53,320
Speaker 1: I'm fighting these battles right now. I've been fighting these

165
00:09:53,360 --> 00:09:56,240
Speaker 1: battles for three years with the exposition, with the repetition,

166
00:09:56,360 --> 00:09:59,360
Speaker 1: and it's just boy, it's tough.

167
00:10:00,320 --> 00:10:03,440
Speaker 2: And you see that in I think this episode in

168
00:10:03,559 --> 00:10:08,640
Speaker 2: general too, like when you finally get to that big

169
00:10:08,720 --> 00:10:13,360
Speaker 2: scene where they have that fight with Emily and Laura

170
00:10:13,520 --> 00:10:16,439
Speaker 2: I and she's saying, I'm not gonna let you were

171
00:10:16,559 --> 00:10:18,680
Speaker 2: like allow Rory to ruin her life the way that

172
00:10:18,720 --> 00:10:21,640
Speaker 2: you ruined your life, and she's like, look around, this

173
00:10:21,840 --> 00:10:26,320
Speaker 2: is a life. Like it's just it's just beautiful. It's

174
00:10:26,360 --> 00:10:31,280
Speaker 2: beautifully written and heartbreaking and again not like pointing to

175
00:10:31,360 --> 00:10:34,079
Speaker 2: anything you've gone through this entire episode where Laura I

176
00:10:34,240 --> 00:10:38,960
Speaker 2: has sort of regressed into whether it be the pain

177
00:10:39,040 --> 00:10:44,600
Speaker 2: medication she's on for. But she's allowed herself to regress

178
00:10:44,760 --> 00:10:46,800
Speaker 2: to sort of a child's state and let her mom

179
00:10:46,880 --> 00:10:49,679
Speaker 2: take care of her. And Laura I never lets her

180
00:10:49,720 --> 00:10:53,720
Speaker 2: mom take care of her. And you see this joy

181
00:10:53,800 --> 00:10:57,840
Speaker 2: that Emily has in being allowed to take care of

182
00:10:57,840 --> 00:11:00,520
Speaker 2: her daughter, like loving being a mom, which is a

183
00:11:00,600 --> 00:11:04,920
Speaker 2: very interesting side of Emily to see. And how quickly

184
00:11:05,760 --> 00:11:11,840
Speaker 2: that fuse blows when just one one domino falls.

185
00:11:11,559 --> 00:11:15,080
Speaker 1: Even though you know it's coming, it still surprised me.

186
00:11:15,200 --> 00:11:18,880
Speaker 1: It still surprised me at the ferocity of that blow

187
00:11:18,960 --> 00:11:22,199
Speaker 1: up at the end. And it was so good, and

188
00:11:22,240 --> 00:11:26,679
Speaker 1: that's you know, that's a Palladino signature episode where it

189
00:11:27,040 --> 00:11:28,880
Speaker 1: is light and funny, light and funny with a little

190
00:11:28,880 --> 00:11:30,640
Speaker 1: bit of drama on the way. Light and funny, light

191
00:11:30,640 --> 00:11:35,880
Speaker 1: and funny, delightful, humorous, actually hysterical. There were so many

192
00:11:35,920 --> 00:11:40,600
Speaker 1: great gags in this and then boom, they nail you

193
00:11:40,640 --> 00:11:43,560
Speaker 1: at the end. They just get you, and it's just

194
00:11:43,720 --> 00:11:49,400
Speaker 1: so powerful. It's such a great formula. Anyway, for those

195
00:11:50,280 --> 00:11:55,079
Speaker 1: listening that aren't aware of the protocols of network television,

196
00:11:56,720 --> 00:11:58,800
Speaker 1: let's tell people a little bit about that. And it

197
00:11:58,840 --> 00:12:05,040
Speaker 1: shouldn't take two long. Writers submit scripts, the studios read

198
00:12:05,040 --> 00:12:10,280
Speaker 1: the scripts. The department the TV division heads and read

199
00:12:10,320 --> 00:12:13,840
Speaker 1: those and they give notes, and since they're paying for

200
00:12:13,920 --> 00:12:18,680
Speaker 1: the show, you're going to implement their notes, right. I

201
00:12:18,720 --> 00:12:22,240
Speaker 1: think it's a lot more collaborative than I'm making out. Actually,

202
00:12:22,280 --> 00:12:24,840
Speaker 1: I think there's a lot more respect going back and forth,

203
00:12:25,840 --> 00:12:29,040
Speaker 1: phone calls, emails, Hey, I got your notes. I don't

204
00:12:29,120 --> 00:12:31,200
Speaker 1: think that's going to you know this kind of thing, right.

205
00:12:31,360 --> 00:12:33,600
Speaker 1: I don't know that it's always so contentious, but I

206
00:12:33,600 --> 00:12:36,960
Speaker 1: think it can get contentious. I think it's more, you know,

207
00:12:37,000 --> 00:12:40,040
Speaker 1: there's a lot of smart people going back and forth forth,

208
00:12:40,080 --> 00:12:43,760
Speaker 1: and maybe there's some less experienced smart people that aren't

209
00:12:43,760 --> 00:12:48,360
Speaker 1: writers per se, and that the network and the advertisers

210
00:12:48,480 --> 00:12:52,040
Speaker 1: need a certain thing put into a scene or an

211
00:12:52,080 --> 00:12:57,199
Speaker 1: episode because you know the reason and I don't want

212
00:12:57,200 --> 00:13:00,400
Speaker 1: to say it. So there's pressure brought to bear on

213
00:13:00,960 --> 00:13:03,600
Speaker 1: the writer's room or on the showrunner to implement this,

214
00:13:03,800 --> 00:13:05,319
Speaker 1: and that's where the wars begin.

215
00:13:05,640 --> 00:13:09,160
Speaker 2: Well, and I think also the why it can get

216
00:13:09,880 --> 00:13:12,760
Speaker 2: I'm not even gonna say contentious, I'm gonna say exhausted, right,

217
00:13:12,760 --> 00:13:17,600
Speaker 2: because the thing with network television, especially at that time,

218
00:13:17,760 --> 00:13:20,120
Speaker 2: is right, you're living in twenty four episodes. That is

219
00:13:20,160 --> 00:13:23,360
Speaker 2: a lot to be putting together before you're even starting

220
00:13:23,400 --> 00:13:25,720
Speaker 2: to shoot. Before that first script is written for the

221
00:13:25,760 --> 00:13:28,920
Speaker 2: first episode of whatever season you're in, right those writers

222
00:13:28,920 --> 00:13:32,200
Speaker 2: are in a room breaking the whole season, figuring out

223
00:13:32,200 --> 00:13:34,400
Speaker 2: we're going to get from this point to this point

224
00:13:34,440 --> 00:13:38,160
Speaker 2: to this point by our midpoint, by episode twelve thirteen,

225
00:13:38,760 --> 00:13:42,839
Speaker 2: that has to be a big episode because Christmas is around, Matt,

226
00:13:42,880 --> 00:13:44,440
Speaker 2: we're going to be off for a few weeks, then

227
00:13:44,480 --> 00:13:48,480
Speaker 2: we're going to come back for the back nine, back ten, whatever,

228
00:13:48,640 --> 00:13:50,959
Speaker 2: and then lead to a finale. So it's this whole

229
00:13:51,040 --> 00:13:55,280
Speaker 2: situation of like figuring out, for twenty something episodes how

230
00:13:55,320 --> 00:13:59,360
Speaker 2: that story goes. So you are breaking that, getting that

231
00:13:59,440 --> 00:14:03,360
Speaker 2: network right, and then episode by episode you're outlining it

232
00:14:03,440 --> 00:14:06,920
Speaker 2: and getting seen approval basically. So then by the time

233
00:14:07,400 --> 00:14:11,280
Speaker 2: you are writing the actual dialogue that gets you there,

234
00:14:11,880 --> 00:14:15,319
Speaker 2: you're kind of on the same page with whatever executives

235
00:14:15,320 --> 00:14:18,120
Speaker 2: about what's going to happen. But then you're also like, well,

236
00:14:18,120 --> 00:14:20,440
Speaker 2: we got to cut to the clock and make sure

237
00:14:20,480 --> 00:14:23,040
Speaker 2: that we're in this commercial break by this time, so you.

238
00:14:22,960 --> 00:14:25,760
Speaker 1: Don't have that much time right right right, get.

239
00:14:25,600 --> 00:14:28,400
Speaker 2: To that place either. So it's I would say, the

240
00:14:28,440 --> 00:14:31,920
Speaker 2: restrictions that everyone sort of under is what can lead

241
00:14:31,960 --> 00:14:35,800
Speaker 2: to the back and forth and lead to the battles,

242
00:14:35,800 --> 00:14:36,400
Speaker 2: so to speak.

243
00:14:36,520 --> 00:14:40,880
Speaker 1: Right, and then there's the the inevitable uh situations on

244
00:14:41,240 --> 00:14:45,720
Speaker 1: set in rehearsal and like this makes no sense. Uh oh,

245
00:14:46,160 --> 00:14:50,240
Speaker 1: this has to be changed or this can be improved, right,

246
00:14:50,760 --> 00:14:52,160
Speaker 1: And then it's just it has to go off the

247
00:14:52,200 --> 00:14:55,280
Speaker 1: chain of command or showrunner makes it on the spot

248
00:14:55,320 --> 00:14:58,240
Speaker 1: decision says yes, okay or no, you know, and then

249
00:14:58,280 --> 00:15:00,200
Speaker 1: you're kind of forced to So so all all these

250
00:15:00,240 --> 00:15:03,200
Speaker 1: different choices are being made in an instant that are

251
00:15:03,240 --> 00:15:07,320
Speaker 1: all like the worst ones can completely alter an intention

252
00:15:07,400 --> 00:15:10,360
Speaker 1: of a scene or your your intention, and it's very

253
00:15:10,440 --> 00:15:15,560
Speaker 1: very difficult to perform that way, very difficult. Anyway, it's

254
00:15:15,840 --> 00:15:20,320
Speaker 1: an interesting process, it really is. Can be fraught with

255
00:15:20,480 --> 00:15:23,760
Speaker 1: tension and drama on the other side of the camera too,

256
00:15:24,000 --> 00:15:26,960
Speaker 1: at the executive level. So it's an interesting and it

257
00:15:27,040 --> 00:15:29,800
Speaker 1: is amazing And I'm really glad you brought this up

258
00:15:30,080 --> 00:15:33,560
Speaker 1: about how brave, how courageous Amy always was in the

259
00:15:33,560 --> 00:15:35,680
Speaker 1: face of all of this, because she just she fought

260
00:15:35,680 --> 00:15:38,320
Speaker 1: for choices and you got to respect the hell out

261
00:15:38,360 --> 00:15:39,040
Speaker 1: of that because you do.

262
00:15:39,160 --> 00:15:42,160
Speaker 2: Because no one makes it easy, even the easiest person

263
00:15:42,240 --> 00:15:44,640
Speaker 2: to work with, even a network executive who has your back,

264
00:15:44,640 --> 00:15:46,800
Speaker 2: which there are plenty of people who will fight for

265
00:15:46,840 --> 00:15:51,000
Speaker 2: their writers, it's still, you know, for you to dig

266
00:15:51,000 --> 00:15:55,440
Speaker 2: your heels in and know, like, if I change this

267
00:15:55,520 --> 00:15:59,200
Speaker 2: one thing, it ruins the music of the scene, It

268
00:15:59,320 --> 00:16:02,520
Speaker 2: ruins the it ruins the thing that ultimately with Gilmer

269
00:16:02,560 --> 00:16:05,520
Speaker 2: Girls has stood the test of time. That coziness of

270
00:16:05,560 --> 00:16:08,480
Speaker 2: it isn't just the snow and the pumpkins and all

271
00:16:08,480 --> 00:16:12,000
Speaker 2: that stuff too, It is the music of how the

272
00:16:12,040 --> 00:16:17,600
Speaker 2: dialogue works is comforting. And you know, a change to

273
00:16:17,640 --> 00:16:23,200
Speaker 2: any of that can ruin that situation. And yeah, could

274
00:16:23,240 --> 00:16:25,240
Speaker 2: it just be easier to just get into in that

275
00:16:25,320 --> 00:16:28,720
Speaker 2: Friday night dinner opening scene, none of the stuff about

276
00:16:28,760 --> 00:16:30,880
Speaker 2: the avocado and the tomato and us just get right

277
00:16:30,880 --> 00:16:32,840
Speaker 2: into Rory. You have a dance and you're not going

278
00:16:32,840 --> 00:16:35,120
Speaker 2: to the dance. Yes, it's easier to just get right

279
00:16:35,160 --> 00:16:39,880
Speaker 2: to that, but you're missing the magic of the dynamic,

280
00:16:40,000 --> 00:16:40,960
Speaker 2: which is the show.

281
00:16:41,520 --> 00:16:44,640
Speaker 1: Right. I'm so glad you brought this up. This crucial

282
00:16:44,680 --> 00:16:47,720
Speaker 1: to the success of this show is that her voice,

283
00:16:47,960 --> 00:16:52,200
Speaker 1: Dan's voice were protected they protected it, and that's why

284
00:16:52,320 --> 00:16:57,080
Speaker 1: she was such a boss, and that's why she is

285
00:16:57,320 --> 00:17:01,440
Speaker 1: getting so many accolades and so many awards, because that

286
00:17:01,520 --> 00:17:05,520
Speaker 1: woman is not an employee. She's a boss running the show.

287
00:17:05,600 --> 00:17:09,640
Speaker 1: That's a real show runner right there, right, She's uncompromised.

288
00:17:09,720 --> 00:17:13,199
Speaker 1: She is not compromising her vision, and she's willing to

289
00:17:13,240 --> 00:17:16,399
Speaker 1: go to the mat for her vision. She's willing to

290
00:17:16,440 --> 00:17:21,320
Speaker 1: defend her actors. She's willing to say bye bye after

291
00:17:21,400 --> 00:17:23,879
Speaker 1: six years, like no, I'm not going to do that

292
00:17:24,520 --> 00:17:28,400
Speaker 1: because you did this, you know. And just an amazing

293
00:17:29,680 --> 00:17:34,359
Speaker 1: legacy that she has left us and still continues to

294
00:17:34,400 --> 00:17:36,720
Speaker 1: create brilliant TV. And I can't wait to see this

295
00:17:36,840 --> 00:17:42,000
Speaker 1: new Oneoile this dance. They're in Paris and New York

296
00:17:42,000 --> 00:17:43,720
Speaker 1: and it's it takes place in the world of bell.

297
00:17:43,920 --> 00:17:47,200
Speaker 2: I'm so excited because, you know, Bunheads was on ABC

298
00:17:47,359 --> 00:17:49,440
Speaker 2: Family at the same time my show Switched at Birth

299
00:17:49,560 --> 00:17:53,040
Speaker 2: was on ABC Family, and so I hadn't seen Amy

300
00:17:53,080 --> 00:17:55,720
Speaker 2: and Dan in like so long, but we went to

301
00:17:55,720 --> 00:17:57,520
Speaker 2: the up runs and they saw both of them there

302
00:17:57,520 --> 00:18:01,120
Speaker 2: for that show. But I love bun Heads too, I

303
00:18:01,200 --> 00:18:03,760
Speaker 2: just think and the world of dance is so personal

304
00:18:03,800 --> 00:18:05,880
Speaker 2: to her. Like, I had no idea that her mother

305
00:18:06,320 --> 00:18:10,240
Speaker 2: was in ballet and was in dance.

306
00:18:10,640 --> 00:18:12,640
Speaker 1: I didn't know that. I knew she was, but I didn't.

307
00:18:12,680 --> 00:18:14,360
Speaker 1: I guess it makes sense there was as well.

308
00:18:14,400 --> 00:18:17,000
Speaker 2: If I'm by the way, it's been years since I

309
00:18:17,040 --> 00:18:20,320
Speaker 2: had this conversation, so let's also just everybody take that

310
00:18:20,359 --> 00:18:22,840
Speaker 2: with a grand assault if I'm incorrect, giving us a

311
00:18:22,920 --> 00:18:27,879
Speaker 2: little grace. But I'm pretty sure her mom was in

312
00:18:28,080 --> 00:18:31,119
Speaker 2: dance as well. So again, like in the Gilmore Girls

313
00:18:31,119 --> 00:18:34,480
Speaker 2: of it all, mother daughter relationships dance being so important,

314
00:18:34,520 --> 00:18:38,960
Speaker 2: like there there's definitely a you know, an Amy Sherman

315
00:18:39,040 --> 00:18:45,399
Speaker 2: Palladino like core to to what her storytelling is and

316
00:18:45,440 --> 00:18:46,800
Speaker 2: what is important to her.

317
00:18:46,960 --> 00:18:49,600
Speaker 1: Right, she's the most unique character of them all. And

318
00:18:49,640 --> 00:18:52,080
Speaker 1: then she's got a million a million voices in there.

319
00:18:52,359 --> 00:18:53,800
Speaker 2: But I already know I'm going to eat that show

320
00:18:53,880 --> 00:18:58,240
Speaker 2: up with a spoon, like I'm so excited. I'm so excited.

321
00:19:07,200 --> 00:19:10,960
Speaker 1: All right, So now we're in Dosis Market and you

322
00:19:11,000 --> 00:19:13,040
Speaker 1: know there's that delightful scene, you know, the thing that

323
00:19:14,119 --> 00:19:17,720
Speaker 1: I marveled at in that walk and talk out in

324
00:19:17,800 --> 00:19:21,680
Speaker 1: stars Hollow to to Dosie's Market with Lane and Rory

325
00:19:21,800 --> 00:19:25,520
Speaker 1: is just how damn wintery it looked. I mean their

326
00:19:25,520 --> 00:19:29,520
Speaker 1: ice on the street, I mean, they did a fantastic job.

327
00:19:30,000 --> 00:19:33,160
Speaker 1: And that's probably an eighty five degree day, or maybe

328
00:19:33,160 --> 00:19:35,359
Speaker 1: it's maybe it's a seventy five degree days because it

329
00:19:35,400 --> 00:19:38,200
Speaker 1: was a little overcast, it seemed. And you really don't

330
00:19:38,240 --> 00:19:42,800
Speaker 1: see the Warner Brothers a lot overcast very often, and

331
00:19:42,840 --> 00:19:45,840
Speaker 1: that's no trick they did in post production. That was like,

332
00:19:46,000 --> 00:19:48,879
Speaker 1: that was a cloudy day. So it's perfect and it

333
00:19:48,960 --> 00:19:51,000
Speaker 1: just looks so cold and wintery and great, you know,

334
00:19:51,160 --> 00:19:54,400
Speaker 1: and what a fantastic job, very very nice scene. I

335
00:19:54,440 --> 00:19:58,560
Speaker 1: love these early episodes. They are establishing what is to come,

336
00:19:58,920 --> 00:20:00,680
Speaker 1: and I think there's some of the fun is crafted

337
00:20:01,080 --> 00:20:07,240
Speaker 1: most finely crafted episodes. So she goes in and she

338
00:20:07,359 --> 00:20:12,800
Speaker 1: nervously asked Dean if she he wants to go to

339
00:20:12,840 --> 00:20:15,919
Speaker 1: the dance with her? And does she not look like

340
00:20:15,960 --> 00:20:21,280
Speaker 1: she was just like five years old? She looks so both.

341
00:20:21,080 --> 00:20:27,760
Speaker 2: Of them, by the way, both of them babies.

342
00:20:33,000 --> 00:20:38,560
Speaker 1: Oh he uh, you know, he's a cool city kid, right.

343
00:20:38,600 --> 00:20:40,560
Speaker 1: He knows what she's getting that he's playing it a

344
00:20:40,560 --> 00:20:42,199
Speaker 1: little cool. He says, well, do you want to go?

345
00:20:42,320 --> 00:20:47,800
Speaker 1: You know, he's I really am liking Dean after this

346
00:20:47,840 --> 00:20:49,840
Speaker 1: episode a lot. I think they're well suited.

347
00:20:50,320 --> 00:20:52,359
Speaker 2: I know this is this is this is our this

348
00:20:52,440 --> 00:20:56,160
Speaker 2: is our good Dean period. We know what's to come,

349
00:20:57,640 --> 00:21:02,439
Speaker 2: so we will you know, wait for that. But yes, uh,

350
00:21:03,200 --> 00:21:07,639
Speaker 2: this like beginning first romance is very very very sweet,

351
00:21:07,680 --> 00:21:12,879
Speaker 2: and Alexis just has like this fabulous sort of natural

352
00:21:13,359 --> 00:21:17,840
Speaker 2: like effortlessness about it, and like there was just this

353
00:21:17,880 --> 00:21:21,919
Speaker 2: one point where she like looked away and then like

354
00:21:21,960 --> 00:21:23,480
Speaker 2: look back to like be like I don't know, I

355
00:21:23,520 --> 00:21:27,119
Speaker 2: mean if you did it, like just so like it

356
00:21:27,160 --> 00:21:30,920
Speaker 2: was it was such a uh such a smart girl

357
00:21:31,480 --> 00:21:33,800
Speaker 2: uh thing right where it's like, this is a girl

358
00:21:33,800 --> 00:21:36,159
Speaker 2: who has been so insular so in her books so

359
00:21:36,520 --> 00:21:40,840
Speaker 2: like and but she is she is a beautiful like social,

360
00:21:41,080 --> 00:21:44,919
Speaker 2: like interesting vivacious mother has obviously gotten some vivacious qualities

361
00:21:44,960 --> 00:21:48,679
Speaker 2: from her, but she has been living sort of like

362
00:21:48,760 --> 00:21:52,840
Speaker 2: that you know, book reader sort of life, and it

363
00:21:52,960 --> 00:21:57,080
Speaker 2: is interesting to see this character grow into who she

364
00:21:57,280 --> 00:21:59,840
Speaker 2: will eventually be, which is so so much more.

365
00:21:59,680 --> 00:22:01,040
Speaker 1: Comfort bowl right.

366
00:22:01,400 --> 00:22:04,280
Speaker 2: But yeah, I love I love these these little moments

367
00:22:04,320 --> 00:22:07,600
Speaker 2: when when Dean is being quite the sweet boyfriend and

368
00:22:07,680 --> 00:22:11,520
Speaker 2: like reading between the lines too, like which I was like, oh,

369
00:22:11,520 --> 00:22:14,119
Speaker 2: well that was an impressive teenage boy at that point

370
00:22:14,280 --> 00:22:16,760
Speaker 2: for him to realize that, like, she's not saying what

371
00:22:16,800 --> 00:22:19,480
Speaker 2: she actually wants. I was like, wow, Dean, we uh,

372
00:22:19,680 --> 00:22:20,480
Speaker 2: we're more put.

373
00:22:21,200 --> 00:22:26,840
Speaker 1: Together than I exactly exactly, and the universe, the universality

374
00:22:26,960 --> 00:22:30,680
Speaker 1: of it, it's like it's I'm a sixty six year

375
00:22:30,680 --> 00:22:35,919
Speaker 1: old man and I'm watching you, a fifteen sixteen year

376
00:22:35,960 --> 00:22:40,240
Speaker 1: old girl, be all a Twitter, and I'm fully engaged

377
00:22:40,240 --> 00:22:42,600
Speaker 1: in this. This is not my demo, this is not

378
00:22:42,760 --> 00:22:45,800
Speaker 1: my kind of thing, but it is because it's like

379
00:22:46,480 --> 00:22:49,600
Speaker 1: I've been in this situation. I'm sure you've been in

380
00:22:49,600 --> 00:22:54,320
Speaker 1: this situation. Everybody's been in this situation, and they're just

381
00:22:54,520 --> 00:22:57,560
Speaker 1: acting out all of these classic scenes in a very

382
00:22:57,640 --> 00:23:00,439
Speaker 1: unique way that we've never seen before. But it's just

383
00:23:00,560 --> 00:23:03,800
Speaker 1: familiar blueprint, right, So it's very comfortable.

384
00:23:03,840 --> 00:23:06,840
Speaker 2: And then my hero of the series, Lane being no

385
00:23:06,880 --> 00:23:08,520
Speaker 2: but this is my entertainment for the week, Like we

386
00:23:08,560 --> 00:23:09,919
Speaker 2: got rid of the television, I have to be.

387
00:23:10,480 --> 00:23:16,439
Speaker 1: Watch she's jumping up and down, she's so happy.

388
00:23:16,680 --> 00:23:19,240
Speaker 2: I don't know if you noted that this stuck out

389
00:23:19,240 --> 00:23:21,879
Speaker 2: to me in the episode where the little clips in

390
00:23:21,960 --> 00:23:25,160
Speaker 2: Lane's hair, because it was very much like, okay, we're

391
00:23:26,359 --> 00:23:32,080
Speaker 2: Alexis looks so young, so let's put these clips in right,

392
00:23:33,520 --> 00:23:36,879
Speaker 2: make hair to make sure that they look because.

393
00:23:36,640 --> 00:23:39,800
Speaker 1: As we know, Kiko was twenty seven at that time.

394
00:23:40,400 --> 00:23:43,240
Speaker 2: Luckily did not look it looks like a baby as well.

395
00:23:44,200 --> 00:23:44,920
Speaker 1: Didn't that look it?

396
00:23:45,119 --> 00:23:48,280
Speaker 2: You could see again, not to get too insidery, you

397
00:23:48,320 --> 00:23:51,080
Speaker 2: could see the network notes at play of like take

398
00:23:51,080 --> 00:23:52,679
Speaker 2: her down, take her down, take her down, and the

399
00:23:52,680 --> 00:23:55,720
Speaker 2: hair department's like yellow and red.

400
00:23:55,760 --> 00:23:59,000
Speaker 1: Clap right right right, right right right, all right. So

401
00:23:59,080 --> 00:24:07,879
Speaker 1: now we're now they're making the dress. Laura's making her dress,

402
00:24:09,119 --> 00:24:11,800
Speaker 1: and it's a it's a great scene because there's like

403
00:24:11,800 --> 00:24:15,160
Speaker 1: there's there's you know, prap falls and the the mannequin

404
00:24:15,200 --> 00:24:17,600
Speaker 1: falls on top of Laurla she slips in, it falls.

405
00:24:17,600 --> 00:24:21,880
Speaker 1: I mean, it's just really hard to do and pull

406
00:24:21,880 --> 00:24:25,720
Speaker 1: it off, and she she makes it looks effortless, makes

407
00:24:25,760 --> 00:24:29,680
Speaker 1: it look like an accident. That's hard to do. What's

408
00:24:29,720 --> 00:24:31,320
Speaker 1: the think of this scene? There was a lot in

409
00:24:31,359 --> 00:24:34,479
Speaker 1: this scene. Let's uh, let's let's talk about this. I mean,

410
00:24:34,520 --> 00:24:38,160
Speaker 1: we've got we've got Suki, we got Emily, we got

411
00:24:38,480 --> 00:24:40,240
Speaker 1: we've got all kinds of stuff. It take us through

412
00:24:40,400 --> 00:24:40,960
Speaker 1: let's stay here.

413
00:24:41,119 --> 00:24:46,720
Speaker 2: I mean, what was fun about, you know, the the

414
00:24:47,320 --> 00:24:53,040
Speaker 2: Suki of it, all, right, is that idea of I'm

415
00:24:53,080 --> 00:24:57,480
Speaker 2: coming over to help, right, and I actually can't help

416
00:24:57,640 --> 00:25:05,120
Speaker 2: at all. Again, just like placing a character in there

417
00:25:05,119 --> 00:25:07,520
Speaker 2: who's like, okay, if it all goes according to plan,

418
00:25:08,119 --> 00:25:10,320
Speaker 2: Emily's not staying over. We're not going to get her

419
00:25:10,359 --> 00:25:13,119
Speaker 2: there the next day. Like Lore lies lived enough of

420
00:25:13,160 --> 00:25:15,399
Speaker 2: a life at this point in time where she knows

421
00:25:15,400 --> 00:25:17,920
Speaker 2: how to keep her mother out of her house. We've

422
00:25:17,920 --> 00:25:21,120
Speaker 2: weakened her with the back issue, but Suki is there

423
00:25:21,119 --> 00:25:25,199
Speaker 2: to help. It's going to be fine, and within two seconds.

424
00:25:26,560 --> 00:25:29,399
Speaker 2: Because I also and you should knowing that Suki is

425
00:25:29,400 --> 00:25:32,560
Speaker 2: so clumsy, you should see that hairspray moment coming. But

426
00:25:32,640 --> 00:25:34,200
Speaker 2: again didn't see it.

427
00:25:34,359 --> 00:25:38,800
Speaker 1: Didn't see that's so good at all. She's whipped out

428
00:25:38,800 --> 00:25:39,879
Speaker 1: four bottles of pills.

429
00:25:40,200 --> 00:25:42,959
Speaker 2: Yeah, so I know that was so great, right, just

430
00:25:43,000 --> 00:25:45,840
Speaker 2: like I got it all because I'm constantly injured, right

431
00:25:46,040 --> 00:25:46,680
Speaker 2: right right?

432
00:25:47,080 --> 00:25:50,159
Speaker 1: And uh yeah, the spraying in the eyes was you

433
00:25:50,280 --> 00:25:53,080
Speaker 1: just I replayed that three or four times and just roared.

434
00:25:53,560 --> 00:25:56,520
Speaker 1: I mean, it's easy to go. Amy and Dan must

435
00:25:56,520 --> 00:25:59,760
Speaker 1: sit there and go, how do we make this hysterically fun,

436
00:25:59,760 --> 00:26:01,920
Speaker 1: because this is just a scene about you know whatever,

437
00:26:02,119 --> 00:26:05,240
Speaker 1: and it's a nice scene and we've written it well,

438
00:26:05,280 --> 00:26:08,639
Speaker 1: but how do we enhance this? You know, it's so good,

439
00:26:08,800 --> 00:26:11,040
Speaker 1: it's so good. And then Emily.

440
00:26:10,760 --> 00:26:14,240
Speaker 2: Calls, oh, yeah that's right, so sorry, we're I jumped ahead. Yeah,

441
00:26:14,280 --> 00:26:17,159
Speaker 2: you're right. No, there's the uh her actually falling with

442
00:26:17,320 --> 00:26:19,640
Speaker 2: Mannekin and then yeah, her calling to try to get

443
00:26:19,680 --> 00:26:22,400
Speaker 2: in on the entire situation. What I love about how

444
00:26:22,440 --> 00:26:25,159
Speaker 2: that particular scene worked is I love how that was shot.

445
00:26:25,520 --> 00:26:30,199
Speaker 2: I loved that Laura I was getting further and further

446
00:26:30,359 --> 00:26:36,040
Speaker 2: and further towards the ground to the she finally gives

447
00:26:36,160 --> 00:26:41,359
Speaker 2: up and says, oh, you know, I am would you

448
00:26:41,480 --> 00:26:44,080
Speaker 2: like to come over and see her get ready for

449
00:26:44,160 --> 00:26:47,560
Speaker 2: the dance? And it's just it's not until she is

450
00:26:47,600 --> 00:26:50,440
Speaker 2: fully on her back on the floor that she has

451
00:26:50,720 --> 00:26:54,639
Speaker 2: she's she's accepted defeat. I just thought that was a

452
00:26:54,680 --> 00:26:57,440
Speaker 2: really clever way of doing that.

453
00:26:58,520 --> 00:27:03,040
Speaker 1: She needs, she needs a Suki delivered muscle relaxer in

454
00:27:03,200 --> 00:27:07,320
Speaker 1: order to get her to comply with Emily. That she

455
00:27:07,400 --> 00:27:16,000
Speaker 1: gets off. It's hysterical, all right. Now here we we

456
00:27:16,040 --> 00:27:26,280
Speaker 1: go to Chiltern and Tristan notices that Paris's hair is shorter. Well,

457
00:27:27,320 --> 00:27:32,200
Speaker 1: here we are confronted with my gosh, this guy.

458
00:27:32,359 --> 00:27:35,040
Speaker 2: You can say it, this guy. That's how I feel

459
00:27:35,040 --> 00:27:36,080
Speaker 2: about it, this guy.

460
00:27:36,480 --> 00:27:37,679
Speaker 1: Have you ever known a guy like this?

461
00:27:38,280 --> 00:27:38,760
Speaker 2: Of course?

462
00:27:40,400 --> 00:27:43,800
Speaker 1: Wow, what produces such a person?

463
00:27:44,320 --> 00:27:49,000
Speaker 2: Well, wealth, upsete amounts of wealth apparently the thing. I mean,

464
00:27:49,200 --> 00:27:54,320
Speaker 2: you know, it's obviously all insecurity. Yeah, but I love

465
00:27:55,480 --> 00:27:59,119
Speaker 2: when Paris says, grory, he was being totally nice to

466
00:27:59,200 --> 00:28:01,320
Speaker 2: you when you were a to him. It's like Paris,

467
00:28:01,520 --> 00:28:05,760
Speaker 2: who hurt you? That seems nice? Like Paris.

468
00:28:10,640 --> 00:28:16,040
Speaker 3: I gotta say the dialogue, just like putting Tristan in

469
00:28:16,080 --> 00:28:21,399
Speaker 3: his place was some of the best words ever to

470
00:28:21,440 --> 00:28:22,399
Speaker 3: come out of her mouth.

471
00:28:23,280 --> 00:28:26,960
Speaker 1: I mean I replayed that scene many times.

472
00:28:27,320 --> 00:28:30,440
Speaker 2: Yeah, it's great. It's great again, like the the opposite

473
00:28:30,440 --> 00:28:33,639
Speaker 2: of like comfortability too, like seeing her sort of you know,

474
00:28:33,800 --> 00:28:36,600
Speaker 2: shy and afraid the Dean thinks and all that, and

475
00:28:36,640 --> 00:28:41,640
Speaker 2: then her just not giving two cares in a world.

476
00:28:41,400 --> 00:28:45,320
Speaker 1: What I mean, is there a better way to call

477
00:28:45,400 --> 00:28:51,000
Speaker 1: somebody stupid, slimy and a weasel? Those three elements I

478
00:28:51,040 --> 00:28:54,800
Speaker 1: mean just brilliant, absolutely brilliant. I mean the fact that

479
00:28:54,880 --> 00:28:58,520
Speaker 1: he hung in there for so long and took those blows.

480
00:28:59,120 --> 00:29:01,920
Speaker 2: Because he's not And this is why again she's in

481
00:29:02,000 --> 00:29:06,080
Speaker 2: the right. He's not hearing her, he's not listening to her.

482
00:29:06,080 --> 00:29:08,080
Speaker 2: He's like, oh, it doesn't compute in his brain that

483
00:29:08,720 --> 00:29:10,920
Speaker 2: he's not going to get what he wants. And so

484
00:29:11,280 --> 00:29:14,560
Speaker 2: it's just she's not being heard or listened to. And

485
00:29:14,600 --> 00:29:18,480
Speaker 2: then finally it's almost like it's not the actual words

486
00:29:18,520 --> 00:29:21,400
Speaker 2: that gets them to leave. It's like him being like, well,

487
00:29:21,400 --> 00:29:22,480
Speaker 2: this is taking too long.

488
00:29:28,400 --> 00:29:33,320
Speaker 1: He tries at least at least she won't be buying

489
00:29:33,400 --> 00:29:35,080
Speaker 1: the tickets or some lame.

490
00:29:36,440 --> 00:29:36,760
Speaker 2: Ticket.

491
00:29:38,760 --> 00:29:43,720
Speaker 1: Oh god, it's so fun. It's so fun. I think

492
00:29:43,840 --> 00:29:47,960
Speaker 1: I my love for Amy deepened after watching this show.

493
00:29:48,680 --> 00:29:51,080
Speaker 1: I mean after watching the scene, yea, I thought, Okay,

494
00:29:51,280 --> 00:29:53,760
Speaker 1: that's that's her message to these types of guys.

495
00:29:53,880 --> 00:29:55,880
Speaker 2: Absolutely, and then again like.

496
00:29:56,080 --> 00:29:59,160
Speaker 1: I because it's because it's a type. They're out there,

497
00:29:58,960 --> 00:30:00,840
Speaker 1: they're kind of well.

498
00:30:00,920 --> 00:30:04,800
Speaker 2: And that's the thing is, you know, again, in what

499
00:30:04,960 --> 00:30:10,320
Speaker 2: this show has done for young women especially, is it

500
00:30:10,320 --> 00:30:13,400
Speaker 2: it takes those sort of types of guys and but

501
00:30:13,480 --> 00:30:16,719
Speaker 2: it never really lives in a world of a type

502
00:30:16,760 --> 00:30:21,600
Speaker 2: of girl like again, that Paris character, those Madeline Louise characters.

503
00:30:21,840 --> 00:30:23,800
Speaker 2: We've seen those mean girls over and over and over

504
00:30:23,840 --> 00:30:27,200
Speaker 2: and over again, and the choice, the choice to make

505
00:30:27,320 --> 00:30:32,160
Speaker 2: Paris who she is is just fantastic, Like you cannot

506
00:30:32,200 --> 00:30:37,920
Speaker 2: point to another sort of like female opposition foe, and like, yes,

507
00:30:38,040 --> 00:30:40,840
Speaker 2: obviously in that moment, is it about the guy? Is

508
00:30:40,880 --> 00:30:43,000
Speaker 2: it about Paris has always had a thing for Tristian.

509
00:30:43,160 --> 00:30:45,400
Speaker 2: He doesn't look at her, he looks at Rory, But

510
00:30:45,480 --> 00:30:49,080
Speaker 2: we know on an even deeper level she's afraid of

511
00:30:49,120 --> 00:30:54,480
Speaker 2: what Rory threatens in her education, which is a crazy

512
00:30:54,520 --> 00:30:59,520
Speaker 2: thing to be also like tied into this entire situation

513
00:31:00,400 --> 00:31:03,640
Speaker 2: of what these girls are are feuding over. Uh and

514
00:31:03,880 --> 00:31:09,920
Speaker 2: just again, the anger in Paris. It's very hard to

515
00:31:09,920 --> 00:31:15,480
Speaker 2: make anger funny and looks just like it's hysterical every

516
00:31:15,480 --> 00:31:18,200
Speaker 2: single time. One of my favorite characters in this series.

517
00:31:19,040 --> 00:31:21,960
Speaker 1: Just yeah, one of the great scenes of the entire

518
00:31:22,760 --> 00:31:23,400
Speaker 1: when she's.

519
00:31:23,280 --> 00:31:27,200
Speaker 2: So upset that she won't wait for the change. She's like,

520
00:31:27,880 --> 00:31:29,320
Speaker 2: I will not keep this change.

521
00:31:29,160 --> 00:31:31,400
Speaker 1: Right, just so good?

522
00:31:41,120 --> 00:31:41,400
Speaker 2: All right?

523
00:31:41,440 --> 00:31:44,320
Speaker 1: So, now Rory's getting ready for the dance, Emily shows up,

524
00:31:45,080 --> 00:31:50,960
Speaker 1: Sukie's there. This is when all that hairspray happens. But

525
00:31:51,040 --> 00:31:53,120
Speaker 1: it's nice to see them all together and it's nice

526
00:31:53,200 --> 00:31:56,720
Speaker 1: to and then Emily, you know, Emily does her thing,

527
00:31:56,920 --> 00:32:00,840
Speaker 1: She does her Emily thing, demands that and has horn

528
00:32:00,880 --> 00:32:03,480
Speaker 1: honking and silence ever been so funny.

529
00:32:04,120 --> 00:32:06,400
Speaker 2: So great, And you know what's so hilarious in this

530
00:32:06,480 --> 00:32:09,160
Speaker 2: moment is Emily's not wrong.

531
00:32:09,720 --> 00:32:12,480
Speaker 1: Emily's not wrong. You can't disagree with that.

532
00:32:12,640 --> 00:32:14,920
Speaker 2: You can't disagree with that. And because I was sitting

533
00:32:14,920 --> 00:32:17,400
Speaker 2: there and I was like, in a normal situation, Laurrea

534
00:32:17,400 --> 00:32:20,440
Speaker 2: I would be like would oh it would be like, no,

535
00:32:20,640 --> 00:32:23,520
Speaker 2: that's not happening Rory Leaf and Laura I kind of

536
00:32:23,600 --> 00:32:25,480
Speaker 2: sits a little bit back a I think because of

537
00:32:25,480 --> 00:32:27,880
Speaker 2: the pain, Like she just doesn't have the energy to

538
00:32:27,880 --> 00:32:31,720
Speaker 2: fight with her mother. But he I was like, oh,

539
00:32:31,840 --> 00:32:34,160
Speaker 2: is there a little small part of Laura I that's like, yeah,

540
00:32:34,200 --> 00:32:35,720
Speaker 2: I already met him yet it's fine, but a little

541
00:32:35,720 --> 00:32:38,880
Speaker 2: bit of like, you know, Laura's very untrusting of all

542
00:32:38,880 --> 00:32:40,560
Speaker 2: the boyfriends, and even though Dean's the one that she

543
00:32:40,720 --> 00:32:43,600
Speaker 2: liked the most. I wondered, was there a little part

544
00:32:43,640 --> 00:32:45,280
Speaker 2: of her that was like, well, I'm not gonna fight

545
00:32:45,320 --> 00:32:48,240
Speaker 2: too hard on this because you know, we should kind

546
00:32:48,240 --> 00:32:50,760
Speaker 2: of come inside, Like what was the line that Emily

547
00:32:50,800 --> 00:32:52,240
Speaker 2: said where she was like, you're not.

548
00:32:52,240 --> 00:32:56,520
Speaker 1: A you're not a fast food. Yeah, you're right, you're

549
00:32:56,560 --> 00:32:58,840
Speaker 1: not in order of chicken or something like something like that.

550
00:32:59,280 --> 00:33:03,080
Speaker 1: That sounds something, but I don't know. I think Laurel

551
00:33:03,120 --> 00:33:06,640
Speaker 1: Lai is you know, she's so the anti she's so

552
00:33:06,800 --> 00:33:10,080
Speaker 1: the antithesis of her mother. Yet there's always that you know,

553
00:33:10,120 --> 00:33:13,680
Speaker 1: the DNA, and you know there's got to fight that,

554
00:33:13,920 --> 00:33:17,080
Speaker 1: right so until you can't anymore. But she's yeah, she's

555
00:33:17,080 --> 00:33:21,400
Speaker 1: in a very vulnerable state. She's on medication and muscle relaxers.

556
00:33:21,440 --> 00:33:25,440
Speaker 2: So every every hill that Suki had in her.

557
00:33:26,080 --> 00:33:29,120
Speaker 1: Right, the only way to deal with Emily is to

558
00:33:29,120 --> 00:33:32,240
Speaker 1: get like lit up a little bit, you know, just

559
00:33:32,680 --> 00:33:34,800
Speaker 1: go to an altered state of consciousness and maybe you

560
00:33:34,800 --> 00:33:39,680
Speaker 1: could throw it. But really, really really love this scene.

561
00:33:39,760 --> 00:33:44,920
Speaker 1: These are these are classic scenes, beautifully shot, beautifully acted,

562
00:33:44,920 --> 00:33:48,080
Speaker 1: beautifully written, back to back to back to back to back.

563
00:33:49,040 --> 00:33:51,320
Speaker 1: There isn't a weak thread here. I mean, it's just

564
00:33:52,040 --> 00:33:58,160
Speaker 1: it just keeps coming at And I thought to myself,

565
00:33:58,200 --> 00:34:01,840
Speaker 1: how nice for the audience to witness this, the three

566
00:34:01,880 --> 00:34:06,400
Speaker 1: generations coming together and all reacting in different ways to

567
00:34:06,520 --> 00:34:12,640
Speaker 1: Dean and his Uh you know his lack of manners,

568
00:34:12,840 --> 00:34:15,919
Speaker 1: would you say or he's just following instruction? He said,

569
00:34:16,120 --> 00:34:18,600
Speaker 1: but you said that to do this, I did it.

570
00:34:18,880 --> 00:34:22,360
Speaker 2: You know. It's teenage boy simplicity, right.

571
00:34:22,400 --> 00:34:28,400
Speaker 1: Right, just fantastic and the and then you top it,

572
00:34:28,560 --> 00:34:31,040
Speaker 1: just when you think it couldn't get any better, they

573
00:34:31,040 --> 00:34:33,760
Speaker 1: get into this Baccarat crystal thing with the monkey lamp,

574
00:34:35,040 --> 00:34:38,600
Speaker 1: and it's like, where do they get this stuff? It's fantastic.

575
00:34:38,840 --> 00:34:43,280
Speaker 2: What store was selling both of those items? What store

576
00:34:43,320 --> 00:34:46,839
Speaker 2: was selling the back crystal candlesticks that you could go

577
00:34:46,880 --> 00:34:48,319
Speaker 2: and be like, but I'm going to replace it with

578
00:34:48,320 --> 00:34:48,960
Speaker 2: the monkey lamb?

579
00:34:49,120 --> 00:34:52,160
Speaker 1: Right, there's there's there's an inconsistency there.

580
00:34:52,520 --> 00:34:54,120
Speaker 2: Well, I just was like, I was like, look, I

581
00:34:54,160 --> 00:34:56,040
Speaker 2: think it could happen, and I think there's a north

582
00:34:56,080 --> 00:34:58,319
Speaker 2: Strom situation where that could be going down.

583
00:34:58,400 --> 00:35:02,439
Speaker 1: But maybe it's a pawnche up. You mentioned.

584
00:35:06,320 --> 00:35:07,920
Speaker 2: That could happen. I agree with you.

585
00:35:09,360 --> 00:35:11,440
Speaker 1: And then she pocketed the rest of the money because

586
00:35:11,480 --> 00:35:15,640
Speaker 1: you know that's not equal value, not now worth a

587
00:35:15,719 --> 00:35:21,640
Speaker 1: dance and and it and it really it really uh uh.

588
00:35:22,680 --> 00:35:25,840
Speaker 1: It shows the difference between these two mm hmm. You know,

589
00:35:26,000 --> 00:35:28,279
Speaker 1: and from Emily's point of view, she's fallen so far

590
00:35:28,320 --> 00:35:31,879
Speaker 1: down where she came from, and from lorealized point of view,

591
00:35:31,880 --> 00:35:35,560
Speaker 1: it's like I found my freedom and my joy all

592
00:35:35,640 --> 00:35:38,919
Speaker 1: right now we're at the dance and they made it there.

593
00:35:40,440 --> 00:35:45,000
Speaker 1: Take us through this, madel Louise spot him, and Louise

594
00:35:45,080 --> 00:35:48,240
Speaker 1: is very forward with Dean about his height. Mm hmmm

595
00:35:48,520 --> 00:35:53,800
Speaker 1: uh that is a very bold and that shows a

596
00:35:53,920 --> 00:35:59,160
Speaker 1: level of total disrespect toward Rory from these from Louise.

597
00:35:59,239 --> 00:36:04,840
Speaker 2: That that Dean handles brilliantly, very well. But again also

598
00:36:05,280 --> 00:36:10,719
Speaker 2: Matt just in her own of like really fixated on

599
00:36:11,200 --> 00:36:12,839
Speaker 2: my mom doesn't know how to make anything. That's just

600
00:36:12,840 --> 00:36:18,840
Speaker 2: so well, this this blatant show of like disrespect of

601
00:36:18,920 --> 00:36:20,520
Speaker 2: happening right in front of her, and she's just like,

602
00:36:20,600 --> 00:36:22,640
Speaker 2: I don't think she could make anything. It just doesn't

603
00:36:22,840 --> 00:36:25,920
Speaker 2: forget Again, that's just like the brilliance of where Gilmer

604
00:36:25,960 --> 00:36:28,240
Speaker 2: Girls lives is like those two things can be happening

605
00:36:28,280 --> 00:36:30,320
Speaker 2: at once, and that like elevates the scene.

606
00:36:30,880 --> 00:36:34,160
Speaker 1: You know, it is rather amazing to watch a sixteen

607
00:36:34,239 --> 00:36:37,360
Speaker 1: year old girl, Rory handle all of these arrows coming

608
00:36:37,360 --> 00:36:39,440
Speaker 1: at her all the time. I mean, if it's not

609
00:36:39,680 --> 00:36:43,319
Speaker 1: if it's not Tristan, it's it's it's Paris and now

610
00:36:43,360 --> 00:36:46,520
Speaker 1: it's Louise. I mean, it's just like full of disrespect.

611
00:36:47,040 --> 00:36:51,200
Speaker 2: But I feel like that was sort of a universal

612
00:36:51,280 --> 00:36:54,560
Speaker 2: feeling as a teenage girl. I think you did feel

613
00:36:54,560 --> 00:36:56,840
Speaker 2: like you had and I think probably for teenage boys

614
00:36:56,880 --> 00:37:01,520
Speaker 2: as well. I think just girl tend to be, for

615
00:37:01,600 --> 00:37:05,840
Speaker 2: whatever reason, a little bit more aware at that stage.

616
00:37:05,920 --> 00:37:08,120
Speaker 2: It's probably has something to do with whatever hormones are

617
00:37:08,120 --> 00:37:11,640
Speaker 2: happening to both at the same time. But I do

618
00:37:11,680 --> 00:37:13,719
Speaker 2: think it feels like you have so much going at

619
00:37:13,760 --> 00:37:16,360
Speaker 2: you in so many directions and you're navigating, and so

620
00:37:17,120 --> 00:37:22,120
Speaker 2: to see someone navigate it, well, it was very inspiring.

621
00:37:23,440 --> 00:37:26,160
Speaker 2: And you know, again in the world where we put

622
00:37:26,280 --> 00:37:28,680
Speaker 2: Dean on a pedestal as like the perfect boyfriend at

623
00:37:28,680 --> 00:37:31,799
Speaker 2: this point, like to be like, oh, she has sort

624
00:37:31,800 --> 00:37:34,839
Speaker 2: of a partner in crime backing her up right here

625
00:37:35,120 --> 00:37:39,480
Speaker 2: was a comforting thing again, lulling us into this false

626
00:37:39,560 --> 00:37:43,399
Speaker 2: sense of security and comfort that will be disrupted by

627
00:37:43,400 --> 00:37:44,560
Speaker 2: the end of the episode.

628
00:37:45,360 --> 00:37:48,600
Speaker 1: M Yeah, she's very strong, isn't she. Rory has some real,

629
00:37:48,760 --> 00:37:52,719
Speaker 1: really good coping skills. You know, she doesn't take things personally,

630
00:37:53,320 --> 00:37:55,279
Speaker 1: but it's hard. I mean, it all builds up and

631
00:37:55,560 --> 00:37:58,560
Speaker 1: you know, anybody could break. But she says, very well,

632
00:37:58,600 --> 00:37:59,600
Speaker 1: for somebody so young.

633
00:37:59,640 --> 00:38:02,839
Speaker 2: Well again, like if you're going into also like an

634
00:38:02,880 --> 00:38:06,600
Speaker 2: absent father, to you get those hoping skills of not

635
00:38:06,719 --> 00:38:10,480
Speaker 2: letting people get to you, probably quite early on, because

636
00:38:10,600 --> 00:38:12,640
Speaker 2: you've had to not let your father get to you.

637
00:38:13,239 --> 00:38:16,799
Speaker 1: Right. And now we see in Paris meets Dean and

638
00:38:16,840 --> 00:38:19,520
Speaker 1: it's very brief and it's not terribly memorable.

639
00:38:20,800 --> 00:38:26,080
Speaker 2: And then Jacob Richard we've seen there, all right.

640
00:38:27,000 --> 00:38:29,279
Speaker 1: And then it's later in that scene he asked for

641
00:38:29,280 --> 00:38:31,760
Speaker 1: a number, isn't it Jacob comes up to her summer cousin.

642
00:38:33,719 --> 00:38:37,799
Speaker 1: All right, So now we're back at Lorealiz's house and

643
00:38:37,800 --> 00:38:41,879
Speaker 1: Emily's made a mash bananas and toast for Lorelei, and

644
00:38:41,920 --> 00:38:44,319
Speaker 1: that is a would you say, that's a strange thing

645
00:38:44,320 --> 00:38:46,479
Speaker 1: to make for an adult mash bananas and toast.

646
00:38:47,000 --> 00:38:50,480
Speaker 2: It's certainly a strange thing to make for an adult,

647
00:38:50,520 --> 00:38:54,000
Speaker 2: but understandably so of like, oh, you're never an adult

648
00:38:54,000 --> 00:38:57,279
Speaker 2: to your mom, right sure, So like she's I just

649
00:38:57,360 --> 00:39:00,560
Speaker 2: love the idea of like Emily, who's going through a

650
00:39:00,640 --> 00:39:03,759
Speaker 2: million maids and a million cooks, right, right, one thing

651
00:39:03,880 --> 00:39:07,680
Speaker 2: she did when she was by herself, probably with a

652
00:39:07,719 --> 00:39:10,840
Speaker 2: sick child, and overwhelmed, was like, if I take this

653
00:39:10,960 --> 00:39:14,759
Speaker 2: banana and I mash it onto bread, then it's a meal.

654
00:39:16,280 --> 00:39:19,080
Speaker 1: We're gonna pick off right where we left off. She's

655
00:39:19,160 --> 00:39:22,399
Speaker 1: she's not sixteen anymore, she's not pregnant. She's a little girl,

656
00:39:22,480 --> 00:39:24,839
Speaker 1: and I'm in control and I'm gonna make her feel good.

657
00:39:25,200 --> 00:39:28,360
Speaker 2: And again the idea too of giving, Like when she

658
00:39:28,360 --> 00:39:29,640
Speaker 2: was like, I would make it for you when you

659
00:39:29,680 --> 00:39:31,359
Speaker 2: were sick all the time, it was like, okay, well

660
00:39:31,360 --> 00:39:33,280
Speaker 2: hold on. So if it's if it's a head cold,

661
00:39:33,360 --> 00:39:35,600
Speaker 2: that's so weird. We're not doing soup. We're doing we're

662
00:39:35,600 --> 00:39:38,160
Speaker 2: doing but I guess there's potassium, all right, I got you.

663
00:39:38,760 --> 00:39:41,200
Speaker 2: If it was a stomach thing, that seems like a

664
00:39:41,280 --> 00:39:42,120
Speaker 2: horrible idea.

665
00:39:42,880 --> 00:39:47,200
Speaker 1: Mm hmmm mm hmmm. Yes, absolutely, it was just you know,

666
00:39:47,320 --> 00:39:52,480
Speaker 1: she was just a back pain exactly. So she's being

667
00:39:52,600 --> 00:39:56,239
Speaker 1: very motherly to Laurela, and she's loving every minute of this.

668
00:39:56,560 --> 00:39:59,480
Speaker 1: I mean it's also you know, she's she's back in

669
00:39:59,560 --> 00:40:03,359
Speaker 1: her element. She's getting to relive the past, maybe right

670
00:40:03,520 --> 00:40:09,080
Speaker 1: some rights, some wrongs here. She evens and Laurel I

671
00:40:09,080 --> 00:40:11,200
Speaker 1: even says, thank you, mommy. And then she brushes her

672
00:40:11,239 --> 00:40:14,520
Speaker 1: hair away that I mean, so yeah, everybody in this

673
00:40:14,600 --> 00:40:16,000
Speaker 1: scene is regressing.

674
00:40:15,560 --> 00:40:19,200
Speaker 2: Now absolutely, And that great moment where again Laurel I

675
00:40:19,440 --> 00:40:21,480
Speaker 2: so trained, where it's like I can do everything by myself.

676
00:40:21,480 --> 00:40:23,239
Speaker 2: Just give me the burrito, I'll eat it cold, and

677
00:40:23,280 --> 00:40:26,920
Speaker 2: you could just see Emily wanting to caregive, wanting to caregive,

678
00:40:26,920 --> 00:40:30,200
Speaker 2: wanting to care give, and then Loral I goes fine,

679
00:40:30,280 --> 00:40:35,480
Speaker 2: hots better though, and Kelly Bishop's performance of be right

680
00:40:35,520 --> 00:40:38,440
Speaker 2: back like that little three to go do that was

681
00:40:39,000 --> 00:40:42,920
Speaker 2: so fantastic, so absolutely wonderful. And yeah, you know when

682
00:40:42,960 --> 00:40:46,879
Speaker 2: she's you know, finally asleep and letting her in and

683
00:40:46,880 --> 00:40:50,360
Speaker 2: and I think really that that moment where she finally

684
00:40:50,360 --> 00:40:53,400
Speaker 2: feels comfortable enough to say, hey, mom, I made the dress,

685
00:40:53,840 --> 00:40:56,839
Speaker 2: like I didn't just go out and buy it. And

686
00:40:57,000 --> 00:41:01,520
Speaker 2: Emily takes a moment to really let that in and

687
00:41:01,560 --> 00:41:05,720
Speaker 2: not be her usual Emily, you know, putting her down

688
00:41:06,440 --> 00:41:09,160
Speaker 2: to say you did a lovely job, and you did

689
00:41:09,200 --> 00:41:12,520
Speaker 2: a lovely job with Rory and the dress, and that moment,

690
00:41:12,600 --> 00:41:15,839
Speaker 2: you're like, show's over, We're healed now, right, these two

691
00:41:15,880 --> 00:41:19,279
Speaker 2: are come together. It's fine, she's accepted it. They're gonna

692
00:41:19,280 --> 00:41:21,840
Speaker 2: fight a path forward. This is wonderful. This is great,

693
00:41:22,000 --> 00:41:25,040
Speaker 2: Like they're never able to have a conversation like this,

694
00:41:25,160 --> 00:41:29,840
Speaker 2: Emily's never able to say you did a good kid,

695
00:41:30,239 --> 00:41:34,680
Speaker 2: and that just that moment allows Laura if for the

696
00:41:34,800 --> 00:41:37,120
Speaker 2: thank you mommy, for the moment she lets her be

697
00:41:37,200 --> 00:41:38,839
Speaker 2: her mother right.

698
00:41:39,280 --> 00:41:43,600
Speaker 1: And just what a wonderful arc for Kelly to act

699
00:41:43,680 --> 00:41:46,319
Speaker 1: for that episode. I mean, just she must have just

700
00:41:47,280 --> 00:41:50,080
Speaker 1: been so thrilled when she read that episode, like, Wow,

701
00:41:50,120 --> 00:41:53,720
Speaker 1: this is gonna be fun because of all the riches

702
00:41:53,760 --> 00:41:57,439
Speaker 1: that she brings to a performance, you know, absolutely, Yeah,

703
00:41:57,440 --> 00:42:00,880
Speaker 1: and Amy setting us up for the big fight scene.

704
00:42:01,160 --> 00:42:04,879
Speaker 1: Just let's get them together. Let's get everybody teary.

705
00:42:04,520 --> 00:42:10,719
Speaker 2: Eyed and lulled into that false security.

706
00:42:10,960 --> 00:42:15,640
Speaker 1: That's so good. It's a now where it's a dance.

707
00:42:15,680 --> 00:42:18,960
Speaker 1: Paris is angry that Roy knows her date is is

708
00:42:19,000 --> 00:42:21,480
Speaker 1: her cousin. She's embarrassed and she kind of outs herself.

709
00:42:21,520 --> 00:42:26,480
Speaker 1: That's a really funny scene, and you know, Roy just says, well,

710
00:42:26,680 --> 00:42:30,279
Speaker 1: I don't have to say it, You've just told everybody. Yeah,

711
00:42:31,440 --> 00:42:37,080
Speaker 1: and uh oh oh, Dean called him DRIs Dan. What

712
00:42:37,239 --> 00:42:38,040
Speaker 1: is Dristane is what?

713
00:42:38,520 --> 00:42:40,640
Speaker 2: I'm so glad you asked that. I was like when

714
00:42:40,680 --> 00:42:43,680
Speaker 2: he says, oh, very clever, I was like, this is

715
00:42:43,719 --> 00:42:45,560
Speaker 2: going above my head. This is this is Amy and

716
00:42:45,640 --> 00:42:46,600
Speaker 2: Dan being.

717
00:42:46,440 --> 00:42:49,279
Speaker 1: No, no, this is something I grew up with, DRIs Dan,

718
00:42:49,400 --> 00:42:53,920
Speaker 1: and I think it's I think it's a headache remedy, okay,

719
00:42:54,480 --> 00:42:57,240
Speaker 1: or it's something it's it's something to get rid of headaches.

720
00:42:58,280 --> 00:43:01,520
Speaker 1: Hang on, let me, I'm gonna google this real fast.

721
00:43:01,400 --> 00:43:03,279
Speaker 2: Because I'm so glad you brought that one up because

722
00:43:03,280 --> 00:43:03,640
Speaker 2: I was like.

723
00:43:03,600 --> 00:43:05,320
Speaker 1: This one, DRIs Dan.

724
00:43:05,400 --> 00:43:08,000
Speaker 2: This one above above my pay grade of under.

725
00:43:08,120 --> 00:43:10,600
Speaker 1: You know I misspelled it. Darn it. I just start

726
00:43:10,640 --> 00:43:26,000
Speaker 1: over sinus and nasal decongestant. I think that's okay, Chris Dan,

727
00:43:26,080 --> 00:43:31,840
Speaker 1: Oh that's clever. He called it a sinus and nasal decongestant.

728
00:43:32,440 --> 00:43:35,879
Speaker 1: What a thing? What a thing? And you know when

729
00:43:35,920 --> 00:43:38,680
Speaker 1: you see those two kissing on the dance floor and

730
00:43:38,920 --> 00:43:41,960
Speaker 1: DRIs Stan is in the background just like and then

731
00:43:42,080 --> 00:43:43,160
Speaker 1: his date comes out.

732
00:43:43,440 --> 00:43:47,000
Speaker 2: I'm gonna say this entire sequence could be recut. That

733
00:43:47,480 --> 00:43:50,799
Speaker 2: Dean and Tristan are actually in love with each other,

734
00:43:51,320 --> 00:43:54,560
Speaker 2: right like that. You could easily recut this scene. That's

735
00:43:54,600 --> 00:43:56,279
Speaker 2: what struck me when I was watching it. I was like,

736
00:43:56,320 --> 00:44:00,400
Speaker 2: there is helpable chemistry between Shad Michael Burry injured.

737
00:44:00,440 --> 00:44:03,440
Speaker 1: How lucky really, I think.

738
00:44:03,640 --> 00:44:06,919
Speaker 2: Because you're looking obviously, you know, with context clues. He's

739
00:44:06,960 --> 00:44:09,440
Speaker 2: looking at the dance floor. He's clearly looking at Rory.

740
00:44:09,640 --> 00:44:11,640
Speaker 2: But I'm telling you the twenty twenty four version of

741
00:44:11,680 --> 00:44:14,640
Speaker 2: this show, the reveal is he's in love with Dean.

742
00:44:17,840 --> 00:44:20,160
Speaker 1: But he's still just doant either way.

743
00:44:20,080 --> 00:44:22,440
Speaker 2: Yeah, either way, either way, he's a nasal de congested.

744
00:44:22,680 --> 00:44:35,080
Speaker 1: He's a nasal d congested. Very very satisfying to see this.

745
00:44:35,680 --> 00:44:41,680
Speaker 1: You know that this is another iconic universal experience that

746
00:44:41,840 --> 00:44:44,520
Speaker 1: everybody witnesses at a dance when they were growing up.

747
00:44:44,920 --> 00:44:45,839
Speaker 1: We've all seen this.

748
00:44:46,360 --> 00:44:48,880
Speaker 2: I'm gonna have to take your word for it because.

749
00:44:48,719 --> 00:44:51,440
Speaker 1: I never saw that well that this chick was homeschooled.

750
00:44:51,520 --> 00:44:56,080
Speaker 2: So this is my window into is this what idt you?

751
00:44:57,280 --> 00:44:59,800
Speaker 1: Oh yeah, yeah, I've seen this a couple of times.

752
00:45:01,280 --> 00:45:04,680
Speaker 1: This is what happens, you know, there's guy fights over girls,

753
00:45:06,239 --> 00:45:08,920
Speaker 1: and uh it was very satisfying, and I thought, I

754
00:45:08,960 --> 00:45:12,839
Speaker 1: thought Dean acquitted himself very well. He said, you don't

755
00:45:12,840 --> 00:45:16,200
Speaker 1: want to fight me, Tristan, I will kill you, and

756
00:45:16,600 --> 00:45:17,640
Speaker 1: uh you.

757
00:45:17,960 --> 00:45:22,759
Speaker 2: Right, you, which, by the way, ultimately right. We know,

758
00:45:22,920 --> 00:45:25,400
Speaker 2: Dean's from Chicago. He's a city kid. Yeah, yeah, yeah, right,

759
00:45:25,480 --> 00:45:28,160
Speaker 2: right right, I really want to get down to it.

760
00:45:28,200 --> 00:45:30,719
Speaker 2: This is the you know, nice guy from the Midwest

761
00:45:31,120 --> 00:45:33,160
Speaker 2: versus like, you know, losty kid from.

762
00:45:33,000 --> 00:45:36,920
Speaker 1: Connecticut, right exactly.

763
00:45:37,239 --> 00:45:39,279
Speaker 2: Neither one of these guys are that hard, you know

764
00:45:39,320 --> 00:45:39,759
Speaker 2: what I mean?

765
00:45:39,960 --> 00:45:45,720
Speaker 1: Mm hmmm hm. But it's it's it's great stuff and

766
00:45:46,320 --> 00:45:49,880
Speaker 1: it really brings the Rory and Dean closer together. She

767
00:45:49,960 --> 00:45:51,440
Speaker 1: refers to Hi as her boyfriend and he's like, but

768
00:45:51,760 --> 00:45:54,719
Speaker 1: that's later on anyway. So they're walking home and uh,

769
00:45:55,719 --> 00:45:59,960
Speaker 1: they happened upon after dancing around the word boyfriend with Dean,

770
00:46:03,040 --> 00:46:08,880
Speaker 1: and she finally asked him if he is her boyfriend,

771
00:46:09,120 --> 00:46:11,640
Speaker 1: and then they go to Miss Patty's. So it's progressing,

772
00:46:11,680 --> 00:46:15,960
Speaker 1: the relationships progressing. This is a perfect first date for them.

773
00:46:16,000 --> 00:46:19,920
Speaker 1: They go in to Miss Patties and they fall asleep.

774
00:46:21,400 --> 00:46:25,000
Speaker 1: They fall asleep and as kids do, right, and never

775
00:46:25,080 --> 00:46:29,080
Speaker 1: happened to me, but it's it's possible.

776
00:46:29,160 --> 00:46:32,600
Speaker 2: The problem is Rory's so immune to coffee at this point, right,

777
00:46:32,640 --> 00:46:35,560
Speaker 2: like they're they're they're walking and getting coffee, but it

778
00:46:35,560 --> 00:46:38,040
Speaker 2: doesn't matter. She's like an Italian that was like her

779
00:46:38,080 --> 00:46:41,520
Speaker 2: evening espresso, you know what, I go to sleep afterwards, like.

780
00:46:43,960 --> 00:46:46,080
Speaker 1: All right, So they fall asleep on the bean bags

781
00:46:46,080 --> 00:46:49,719
Speaker 1: and Miss Patties And next morning Miss Patty comes in

782
00:46:49,760 --> 00:46:52,560
Speaker 1: with a group of older women at five thirty am

783
00:46:52,640 --> 00:46:54,400
Speaker 1: to her studio. I guess they're doing a jazz or

784
00:46:54,400 --> 00:46:57,200
Speaker 1: size or something or a yoga no dance, it's a

785
00:46:57,280 --> 00:46:58,359
Speaker 1: dancing right, she doesn't dance.

786
00:46:58,440 --> 00:46:59,960
Speaker 2: Well, I think I think it was a yoga clash.

787
00:47:00,320 --> 00:47:03,440
Speaker 2: She's a dance teacher, but I think it was. I

788
00:47:03,480 --> 00:47:04,800
Speaker 2: believe so because of the mats.

789
00:47:05,080 --> 00:47:08,120
Speaker 1: But you know, right, and there they are passed out,

790
00:47:09,120 --> 00:47:12,919
Speaker 1: Rory freaks out. Dean insists he's gonna come with Rory

791
00:47:12,920 --> 00:47:15,160
Speaker 1: to explain to Laura lines and.

792
00:47:15,040 --> 00:47:18,799
Speaker 2: Liz Torres has that brilliant line reading of like it's

793
00:47:18,840 --> 00:47:23,839
Speaker 2: five thirty in the morning. She's like, Rory sweeting, worry

794
00:47:23,840 --> 00:47:26,120
Speaker 2: sweet sometimes it's five thirty in the morning. Just so

795
00:47:26,400 --> 00:47:30,279
Speaker 2: like nice to Rory and so like we don't trust you,

796
00:47:30,400 --> 00:47:34,960
Speaker 2: new kid. But yeah, and then all the running with Dean,

797
00:47:35,400 --> 00:47:37,680
Speaker 2: where she's he's like, I'll explain, and she's like you

798
00:47:37,719 --> 00:47:42,560
Speaker 2: cannot be anywhere near right, And I think that's such

799
00:47:42,680 --> 00:47:48,680
Speaker 2: intense reaction to again, no exposition needed. We got what

800
00:47:48,760 --> 00:47:52,600
Speaker 2: this means. Like, we know the one thing Rory has

801
00:47:52,640 --> 00:47:57,560
Speaker 2: grown up with her entire life is to not be

802
00:47:57,640 --> 00:47:59,600
Speaker 2: in the same position that her mother was in. That

803
00:47:59,680 --> 00:48:02,160
Speaker 2: is the one thing that Laurai and Emily both can

804
00:48:02,200 --> 00:48:05,359
Speaker 2: agree on. Then Rory knows what the stakes of that

805
00:48:05,480 --> 00:48:08,400
Speaker 2: are and what the stakes of her losing her mother's

806
00:48:08,400 --> 00:48:13,319
Speaker 2: trust are, so that you know, super intense reaction isn't

807
00:48:13,360 --> 00:48:15,520
Speaker 2: about I'm gonna get in trouble like it would be

808
00:48:15,600 --> 00:48:18,560
Speaker 2: with any other teenager. It's about, oh, this is like

809
00:48:20,200 --> 00:48:22,080
Speaker 2: something that is going to hurt my mother on a

810
00:48:22,160 --> 00:48:25,759
Speaker 2: level that like nobody else gets but me. Yeah.

811
00:48:25,840 --> 00:48:29,640
Speaker 1: I love that scene if Rory running past looks you know,

812
00:48:29,680 --> 00:48:32,000
Speaker 1: it's like a wide shot of her just running down

813
00:48:32,040 --> 00:48:34,880
Speaker 1: the street to her home yelling, Oh no, I gotta go,

814
00:48:35,160 --> 00:48:41,000
Speaker 1: you can't come with me? Just great, just great. And

815
00:48:41,040 --> 00:48:46,200
Speaker 1: then Emily wakes up Laurala I and then it all begins.

816
00:48:46,640 --> 00:48:50,080
Speaker 1: This all begins, this big scene, this big shootout at

817
00:48:50,080 --> 00:48:55,240
Speaker 1: the OK Corral begins, and everybody's freaking out and Emily's

818
00:48:55,239 --> 00:48:57,759
Speaker 1: freaking out, and Mom stop yelling at me. I know,

819
00:48:57,960 --> 00:49:00,080
Speaker 1: I know she's missing, and I'm calling and where's the

820
00:49:00,080 --> 00:49:02,520
Speaker 1: phone I'm looking for the you know, the whole thing.

821
00:49:02,680 --> 00:49:06,759
Speaker 1: It was just terrific tension ratchet up. We as an

822
00:49:06,800 --> 00:49:11,719
Speaker 1: audience knows she's safe, but it's still creating some anxiety

823
00:49:11,800 --> 00:49:15,239
Speaker 1: watching these two freaking out because boy, you know, as

824
00:49:15,239 --> 00:49:18,600
Speaker 1: a father, I can relate to that, right, being in

825
00:49:18,640 --> 00:49:20,640
Speaker 1: a situation where you don't know where your kid is.

826
00:49:20,760 --> 00:49:24,319
Speaker 1: So that's that's terrifying. Uh And there's nothing in life

827
00:49:24,360 --> 00:49:29,680
Speaker 1: more terrifying than that. And then it all begins. What

828
00:49:29,840 --> 00:49:30,960
Speaker 1: was your impression of this?

829
00:49:31,880 --> 00:49:35,880
Speaker 2: I mean, love love, love love, It's it's it's a

830
00:49:35,880 --> 00:49:40,640
Speaker 2: perfect scene, it really is. It's it's so layered, it's

831
00:49:41,200 --> 00:49:44,279
Speaker 2: and and again we've been joking. You know, the whole

832
00:49:44,280 --> 00:49:46,640
Speaker 2: episode lolows into a full sense of security. But because

833
00:49:46,680 --> 00:49:49,719
Speaker 2: it does, and you said something so great, Scott, we

834
00:49:49,800 --> 00:49:53,080
Speaker 2: all know everything is actually okay, but it doesn't matter.

835
00:49:53,120 --> 00:49:57,160
Speaker 4: The damage is done. And and again it's just the history.

836
00:49:57,239 --> 00:49:59,800
Speaker 4: It's the history that comes out in that argument between

837
00:50:00,800 --> 00:50:04,239
Speaker 4: Emily and Lorlai and between Kelly and Lauren. It's just

838
00:50:04,320 --> 00:50:06,880
Speaker 4: like a masterclass like acting the hell out of it.

839
00:50:06,920 --> 00:50:10,359
Speaker 4: When Lauren just grabs that coffee pot, which she says

840
00:50:10,360 --> 00:50:10,920
Speaker 4: no she's not.

841
00:50:11,120 --> 00:50:13,960
Speaker 2: And like the build of the no, she's not, No,

842
00:50:14,080 --> 00:50:16,239
Speaker 2: she's not. No, she's not. No, she's not. No, she's not. No,

843
00:50:16,320 --> 00:50:19,080
Speaker 2: she's not And then she gets a little like almost

844
00:50:19,160 --> 00:50:23,280
Speaker 2: childish again, which I think was such an important choice

845
00:50:23,320 --> 00:50:28,200
Speaker 2: because again she's sitting there arguing with her mother about

846
00:50:28,200 --> 00:50:31,200
Speaker 2: her own child, but it is still about something. They're

847
00:50:31,280 --> 00:50:35,280
Speaker 2: not arguing about Rory. They're arguing about Laura I and

848
00:50:35,640 --> 00:50:41,080
Speaker 2: all the Ultimately, no matter what, can they have a

849
00:50:41,160 --> 00:50:44,040
Speaker 2: nice relationship eventually if both of them just give a

850
00:50:44,040 --> 00:50:48,319
Speaker 2: little absolutely, But it doesn't change the fact that neither

851
00:50:48,400 --> 00:50:51,840
Speaker 2: one of them has dealt with the pain of that situation,

852
00:50:51,960 --> 00:50:54,839
Speaker 2: and so it will forever be the thing that is

853
00:50:55,000 --> 00:51:00,439
Speaker 2: under both of them in any situation. And then again

854
00:51:00,480 --> 00:51:02,880
Speaker 2: her really really standing up for Rory and standing up

855
00:51:02,880 --> 00:51:09,960
Speaker 2: for themselves. Emily leaves, Rory comes in, Rory thinks it's

856
00:51:10,000 --> 00:51:16,600
Speaker 2: gonna be okay, And the flip of like her losing

857
00:51:16,640 --> 00:51:19,759
Speaker 2: her strength in that moment of you're absolutely right, just

858
00:51:19,760 --> 00:51:22,279
Speaker 2: being from a parent of not knowing where your kid is.

859
00:51:22,320 --> 00:51:27,360
Speaker 2: But again what that her getting into her own insecurities

860
00:51:27,400 --> 00:51:31,040
Speaker 2: about what that means too, Like she knows Rory is okay,

861
00:51:31,680 --> 00:51:34,680
Speaker 2: and once she knows Rory is okay, it's about something

862
00:51:36,440 --> 00:51:39,440
Speaker 2: not scarier than your kid being dead. Obviously, you're so

863
00:51:39,520 --> 00:51:43,719
Speaker 2: happy your child is fine. But it becomes about something deeper,

864
00:51:44,200 --> 00:51:46,960
Speaker 2: which is what Rory calls her out on, which is like,

865
00:51:47,080 --> 00:51:49,240
Speaker 2: I screwed up and I did it in front of Grandma,

866
00:51:49,320 --> 00:51:50,879
Speaker 2: and you're the one who got nailed for it.

867
00:51:50,960 --> 00:51:58,239
Speaker 1: Right right, right, right, yeah, boy. And we thought that

868
00:51:58,239 --> 00:52:02,200
Speaker 1: that was the thing. We thought that that falling asleep

869
00:52:02,200 --> 00:52:05,000
Speaker 1: in Miss Patty's was the scene. We thought that was

870
00:52:05,040 --> 00:52:07,440
Speaker 1: the thing. No, it was just a catalyst to get

871
00:52:07,480 --> 00:52:10,479
Speaker 1: these two women at each other's throats and really dig

872
00:52:10,520 --> 00:52:14,440
Speaker 1: into what was really going on. Can you imagine a

873
00:52:14,480 --> 00:52:18,319
Speaker 1: more powerful narrative to a predominantly female audience that this

874
00:52:18,400 --> 00:52:24,480
Speaker 1: show represents other than dealing with this directly in this way?

875
00:52:24,800 --> 00:52:26,960
Speaker 1: I mean, what a powerful.

876
00:52:26,480 --> 00:52:29,480
Speaker 2: Hook, Absolutely a powerful hook. And again, like you know,

877
00:52:29,520 --> 00:52:33,120
Speaker 2: you're dealing with the the sex of it all and

878
00:52:33,440 --> 00:52:36,759
Speaker 2: all of that too, but with the core of the show,

879
00:52:36,760 --> 00:52:40,439
Speaker 2: which is always the mother daughter relationship, dealing with something

880
00:52:40,440 --> 00:52:43,279
Speaker 2: that I think is a very nuanced thing, which is

881
00:52:43,280 --> 00:52:44,880
Speaker 2: what it means to be a mother and a daughter,

882
00:52:45,160 --> 00:52:50,520
Speaker 2: which is you're so connected rite any mother and child.

883
00:52:50,600 --> 00:52:54,160
Speaker 2: You know, obviously you've raised the kid in a way

884
00:52:54,239 --> 00:52:57,400
Speaker 2: that is very very unique to you, being able to

885
00:52:57,400 --> 00:52:59,839
Speaker 2: you know, birth the child, and even again mothers who

886
00:52:59,880 --> 00:53:02,000
Speaker 2: are doing that too, but just the mother nurturing is

887
00:53:02,000 --> 00:53:05,279
Speaker 2: a very very unique sort of experience, but specifically with

888
00:53:05,320 --> 00:53:10,800
Speaker 2: mothers and daughters. What it is about, like Emily's self

889
00:53:10,800 --> 00:53:13,239
Speaker 2: worth is in Laurel I. And because Laura I didn't

890
00:53:13,280 --> 00:53:16,640
Speaker 2: live her life the way that Emily thinks she should,

891
00:53:17,160 --> 00:53:19,680
Speaker 2: that has hurt Emily in a way. And in many

892
00:53:19,760 --> 00:53:21,960
Speaker 2: ways we see that with Laura I and Rory. Even

893
00:53:22,000 --> 00:53:25,600
Speaker 2: though Laura I, you know, says that that's not what

894
00:53:25,640 --> 00:53:28,040
Speaker 2: she does. She gives Rory space, she talks to Rory,

895
00:53:28,120 --> 00:53:30,319
Speaker 2: and that is so true like with any sort of

896
00:53:31,120 --> 00:53:33,880
Speaker 2: psychle trauma, right, you hope that the next generation does

897
00:53:33,880 --> 00:53:35,960
Speaker 2: a little bit better and LAURAI does a lot better, but.

898
00:53:36,040 --> 00:53:37,640
Speaker 1: Again it does do a lot better.

899
00:53:37,920 --> 00:53:42,160
Speaker 2: But if Rory screws up, and if Rory doesn't go

900
00:53:42,280 --> 00:53:45,480
Speaker 2: to an Ivy League school and Rory doesn't have the

901
00:53:45,560 --> 00:53:48,480
Speaker 2: life that Laura I was supposed to have, does that

902
00:53:48,520 --> 00:53:51,120
Speaker 2: mean Laura I failed? And what does that mean to

903
00:53:51,160 --> 00:53:54,640
Speaker 2: Laura I? Is the exact same journey that Emily's having.

904
00:53:54,920 --> 00:53:57,399
Speaker 1: It's the big question of the show. It's a big question.

905
00:53:57,680 --> 00:54:00,400
Speaker 1: It really is a very exactly what I thought of

906
00:54:00,520 --> 00:54:03,600
Speaker 1: was that because they do talk about that, they do

907
00:54:03,760 --> 00:54:06,480
Speaker 1: argue about that, and then we know from the episodes

908
00:54:06,520 --> 00:54:09,360
Speaker 1: what happens, right, because her life does go off the

909
00:54:09,440 --> 00:54:14,920
Speaker 1: rails a little bit. Right, Man, What an episode? What

910
00:54:15,000 --> 00:54:19,839
Speaker 1: a scene? What a scene? All right, here's some fun

911
00:54:19,880 --> 00:54:23,120
Speaker 1: facts and a various student analysis. By the way, Vanessa,

912
00:54:23,280 --> 00:54:23,640
Speaker 1: very rare.

913
00:54:24,280 --> 00:54:30,759
Speaker 2: I've only spent you know, twenty something years rewatching this show.

914
00:54:34,200 --> 00:54:35,799
Speaker 1: All right. There's some fun facts that the dance, they

915
00:54:35,800 --> 00:54:38,440
Speaker 1: talk about Dean's height, and I was bumping against this

916
00:54:38,440 --> 00:54:40,560
Speaker 1: a little bit. As they say up here in Canada.

917
00:54:42,160 --> 00:54:44,440
Speaker 1: He's actually six four. He's he's a tall drink of water.

918
00:54:44,480 --> 00:54:46,839
Speaker 1: He's not six too, he's taller than six two. And

919
00:54:47,560 --> 00:54:51,640
Speaker 1: he's nineteen twenty years old at the time, I think

920
00:54:51,640 --> 00:54:55,200
Speaker 1: it was eighteen or nineteen. I guess it was nineteen.

921
00:54:55,560 --> 00:54:57,640
Speaker 1: And this is the first episode, as we mentioned, not

922
00:54:57,800 --> 00:55:03,439
Speaker 1: to feature Luke Dane spoiler. Rory and Dean physically fall

923
00:55:03,440 --> 00:55:06,600
Speaker 1: asleep together at Miss Patties, and Rory has to explain

924
00:55:06,640 --> 00:55:09,759
Speaker 1: to her mom that they were just innocently sleeping. In

925
00:55:09,800 --> 00:55:13,920
Speaker 1: a later season, they actually do sleep together at Miss Patties.

926
00:55:14,719 --> 00:55:17,719
Speaker 2: They do all yeah, and.

927
00:55:17,640 --> 00:55:19,480
Speaker 1: I thought this was the episode. I thought, Oh, this

928
00:55:19,520 --> 00:55:23,200
Speaker 1: is the episode where they actually do. But I think

929
00:55:23,239 --> 00:55:25,080
Speaker 1: a great use of sets and a great use of

930
00:55:25,120 --> 00:55:27,920
Speaker 1: Miss Patties, right, Why create a whole separate set when

931
00:55:27,920 --> 00:55:31,720
Speaker 1: you can just when love can bloom in Miss Patties

932
00:55:31,719 --> 00:55:36,719
Speaker 1: where it often does. Anyway, So all right, Veness, what

933
00:55:36,800 --> 00:55:38,680
Speaker 1: are you getting up to now? You? What do you?

934
00:55:38,719 --> 00:55:39,319
Speaker 1: What are you doing?

935
00:55:39,960 --> 00:55:44,400
Speaker 2: I mean, I've been producing mostly, which has been really,

936
00:55:44,440 --> 00:55:46,640
Speaker 2: really lovely. I did a Christmas movie not too long

937
00:55:46,719 --> 00:55:49,800
Speaker 2: ago that I believe you can watch on Discovery Plus

938
00:55:49,840 --> 00:55:53,680
Speaker 2: or Max called One delicious Christmas film I produce called

939
00:55:53,680 --> 00:55:56,840
Speaker 2: The Royal Treatment is on Netflix. My sister stars in that.

940
00:55:56,960 --> 00:56:01,000
Speaker 2: It's very very fun. I highly recommend. Yeah. So I've

941
00:56:01,040 --> 00:56:04,440
Speaker 2: been doing that, been doing some writing. Hopefully I'll come

942
00:56:04,440 --> 00:56:06,400
Speaker 2: back on this podcast and I can actually tell you

943
00:56:06,440 --> 00:56:09,320
Speaker 2: what I've been writing. But again, yes, in the world

944
00:56:09,640 --> 00:56:13,080
Speaker 2: of how this entertainment industry works, you are hired to

945
00:56:13,080 --> 00:56:15,279
Speaker 2: do something and then you can't actually talk about it

946
00:56:15,400 --> 00:56:16,960
Speaker 2: because they may not make.

947
00:56:16,840 --> 00:56:19,640
Speaker 1: It all right right, exactly exactly well, it was a

948
00:56:19,640 --> 00:56:22,319
Speaker 1: lot of fun catching up and thanks for coming on. Yes,

949
00:56:22,360 --> 00:56:24,879
Speaker 1: we will have you back and when you can talk

950
00:56:24,920 --> 00:56:27,399
Speaker 1: about these things, maybe even if you can't.

951
00:56:27,719 --> 00:56:29,640
Speaker 2: Yeah, yeah, yeah, have me back anytime, you know. I'll

952
00:56:29,760 --> 00:56:32,480
Speaker 2: rewatch you, Morgles. I'm already doing it, Scott, right.

953
00:56:32,400 --> 00:56:35,920
Speaker 1: Right, right right, Why not talk about it on this

954
00:56:35,960 --> 00:56:39,320
Speaker 1: platform anyway? Thank you so much for your time. Always

955
00:56:39,320 --> 00:56:43,960
Speaker 1: at delight, Ladies and gentlemen, I give you Vanessa Morano,

956
00:56:44,040 --> 00:56:47,120
Speaker 1: the one and only. Thanks so much. All right, everybody,

957
00:56:47,160 --> 00:56:50,479
Speaker 1: we will see you next time, and remember where you lead,

958
00:56:51,239 --> 00:57:22,120
Speaker 1: we will follow. Stay safe, my Augusta. Hey everybody, and

959
00:57:22,200 --> 00:57:25,800
Speaker 1: don't forget Follow us on Instagram at I Am all

960
00:57:25,840 --> 00:57:39,960
Speaker 1: In podcast and email us at Gilmore at iHeartRadio dot com.